Effective Book Marketing – Part 3

(5) Strive to generate word-of-mouth sales.

Word-of-mouth sales are among the best sales that your book can get, yet are also the most challenging to achieve. There are a few things that you can do to help garnish these valuable sales.

Try to create buzz for your upcoming book. Don’t simply publish the book and wait to see how little it gets noticed. Instead, strive to get people talking about your book prior to its release:

  • Solicit feedback on your cover, title, and blurb. Post these on your blog and Facebook, requesting comments. Show these in person. Have these with you and show them to people (especially, those in your target audience). You get valuable feedback and might help to create a little buzz at the same time.
  • Don’t keep your book writing a secret. People ask, “What have you been up to lately?” Let them know how your book is coming along. This is more effective when they inquire about your book, and less effective when you volunteer it. You’ll get tuned out if you’re always talking about your book.
  • Join a critique group, see if a book club is interested in your draft (if you’re already a member, this is far more likely), start a focus group, and find people who can read your book (in whole or in part) and offer feedback. The more people who know about your book, the greater the chances that some people will like it and talk about its upcoming release. You want people to be saying, “Did you know that So-n-so wrote a romance novel and it’s coming out this June?” You can’t tell people what to say, but you can create the opportunities.
  • Send out advance review copies. Search for bloggers who have a following among your target audience who occasionally review books and see if they would be interested in reading a free copy of your book for possible review on their blog (if you’ve already been a long-time, active follower, that may help). You can also search for book review websites. Keep in mind that the most popular bloggers and sites will already have numerous requests.
  • Arrange for book readings and signings. Develop a one-sentence strapline that will help generate interest in your book. When you interact with people (in general) or do a book reading, this is the thought that you want to leave them with.
  • Seek local press coverage from the media. Prepare a professional press release package. Local newspapers may have column inches to fill and like to feature local authors. Similarly, local radio shows may have minutes to fill; even try local television stations. Start local, then look for media that specifically relates to your target audience; when they’re trying to catch the same target audience, featuring you may be a good fit. Even if they can’t cover you on the air, they may be willing to post a brief note about you on their major website.

Realize that your book is a marketing tool in itself:

  • An eye-catching cover helps to attract interest in your book.
  • A cover, title, and blurb that send a unified message about the genre and content help to catch members from your target audience.
  • A cover that features one image and a title with two to three words are easy to remember and help with your branding efforts. This also makes your book easier to describe, which helps with buzz and word-of-mouth sales.
  • An effective, well-written blurb and captivating, well-written and well-formatted Look Inside help to sell your book. This is your only salesperson at the point-of-sale online.
  • The quality of the book significantly impacts your prospects for word-of-mouth sales. Editing or formatting mistakes detract from this. Memorable characters and great stories that evoke strong emotions for fiction, and helpful and clear explanations for nonfiction, improve your chances. These things similarly affect customer reviews.

(6) Be diligent, consistent, and persistent in your marketing efforts.

It can take a year of diligent marketing before your marketing efforts are fully realized. Trying for a short period and giving up prematurely is a common mistake. We like to see instant satisfaction, but marketing just doesn’t work that way. There aren’t any shortcuts. You can’t just throw money at it (like paying for advertisements) to reap instant rewards.

Be patient. Branding and discovery take time. People won’t rush out to buy your book the second they hear about it. It may take months until readers from your target audience have come across you and your book enough times for branding to take effect. Then it can take additional weeks before they’re shopping for their next book. It may take months to read your book. So it can easily be a year before they recommend it to others.

If you stop marketing prematurely, your branding effort will be incomplete.

Many marketing strategies actually have indirect benefits. So even if they don’t reap immediate sales, all of your marketing strategies that specifically reach your target audience may have long-term benefits. Don’t give up.

(7) Choose strategies based on a cost-benefit analysis.

Most authors decide which marketing strategies to adopt based on what’s easiest for them to do, what they feel most comfortable doing, what they perceive is popular among other authors, what they’ve heard other authors recommend, and especially what does or doesn’t seem to be providing immediate results.

What you really want to know is which marketing strategies will be most effective for your unique book.

Decide which strategies to employ based on a cost-benefit analysis.

Even if the marketing tool is free, it still costs you time. Therefore, every marketing strategy that you apply has cost, whether in money, time, or both.

Ideally, you want to reap the most rewards with the least cost. For each marketing strategy that you consider, make a list of the probable costs and benefits (and remember, time is money, so the time that you must invest is a cost, too).

Click here to view an article on cost-benefit analysis: https://chrismcmullen.wordpress.com/2013/04/16/cost-benefit-analysis-for-marketing-books/.

Chris McMullen, author of A Detailed Guide to Self-Publishing with Amazon and Other Online Booksellers

Follow me at WordPress, find my author page on Facebook, or connect with me through Twitter.

Effective Book Marketing – Part 2

If you missed Part 1, you can find it here:

https://chrismcmullen.wordpress.com/2013/04/12/effective-book-marketing-part-1/

(3) Promote your book indirectly through discovery and branding.

Consider these questions for a moment:

  • When you’re walking down the sidewalk, do you like it when someone stops you to give you a sales pitch?
  • Suppose that an acquaintance tells you that you should come to his shop and buy a product first thing every time that you meet him. Would you appreciate this?
  • Do you believe it when somebody tells you that their product is the best ever?
  • If a stranger tells you out of the blue that you should buy a particular product, will you go to the store and purchase it?
  • Don’t you love it when a televised movie breaks to commercials just before the climax?

Most people have an aversion to advertising and salesmanship. You won’t sell many books through self-promotion and direct advertising of an unknown book by an unknown author with an unknown publisher.

Bragging also tends to be ineffective. It’s important to show confidence and passion for your own work, without coming across as boastful.

If you post online just to promote your new book, most people will ignore it. If you frequently advertise your book, most people will tune you out.

Now consider these questions:

  • When you see people wearing outfits that you like, do you ever ask where they bought them?
  • Suppose that you’re having a conversation with an acquaintance. You ask what he does and learn that he’s a singer who has just released a new CD. Would you be interested in buying a song from someone you’ve actually met?
  • If you’re buying a product in the store, do you ever choose one that you’ve heard of over one that you don’t recognize?
  • Do you enjoy seeing an artist’s passion for her work?

When people discover that you’ve written a book (rather than have you thrust this information upon them) they are much more likely to develop interest in it. If people recognize your book, your cover, your author photo, or your name from your indirect branding efforts (not from direct advertising or salesmanship), they are more likely to buy your book. When people see that you are passionate about your book, but not boastful, this tends to increase their interest in it.

The indirect techniques of discovery and branding tend to be far more effective than self-promotion or direct advertising.

Interact with your target audience in such a way that if they enjoy the interaction, they can discover that you’re an author and inquire about your book. Gear your marketing efforts toward increasing your visibility among your target audience in order to brand your book.

Personal interactions tend to be more effective. People like to read books by authors they’ve actually met. Mingle with your target audience. Let them discover that you’re an author, rather than volunteering this information. If you ask what they do for a living, they might ask the same of you, for example.

Of course, there is a limit to how many people you can interact with in person, so you must also interact with your target audience online. If they enjoy their interaction with you, they may check out your online profile and discover that you’ve written a book.

Where relevant, some authors end their posts with Your Name, Author of Your Book (in an online forum, it’s best if you have a very short title – two to three words). Don’t list several books and services at the bottom of your post, since this will look like your post is mostly about advertising and sales.

Branding entails more than just getting your book and name out there. Your image is at stake. Brand your book or your name in a negative way and it can greatly deter sales. You want to come across as professional, confident (but not boastful), trustworthy, credible as an author in your genre, respectful of others, knowledgeable, and as a model for how authors should behave.

Never behave defensively, avoid complaining, don’t say bad things about any customers or reviewers, refrain from asking for reviews, and so on.

(4) Attract a following by providing valuable content.

Blogging about yourself and tweeting about your book, for example, aren’t likely to attract new readers. You can provide more information about yourself on a fan page, but this just entertains a few of your current fans – it doesn’t gain you new readers. A fan page might help you spread the word of subsequent books. But what you really want to do is attract new customers.

What you want to do is provide valuable content that may attract your target audience. Get valuable content where your target audience is likely to see it.

When you blog, provide helpful nonfiction material that relates to your book (without duplicating the content). Blog because you’re passionate about the subject and wish to share it with others (don’t blog because you’re trying to sell books), and your articles are likely to be more valuable. When you tweet, focus on using the limited space to offer useful information to your target audience – often through a link (that doesn’t go to your own book or websites). Use tags and hashtags to help reach your target audience.

No more than 10% of your posts should be about you or your book. If people appreciate the content that you provide, they may check out your profile and discover that you’ve written a book.

Look for other ways to provide valuable content. Meet bloggers who are a good fit for your target audience: They might feature you on a guest interview (or review your book on their blogs), for example (something you can also do for others). Write an article and try to publish it online (the very large number of websites out there gives you reasonable chances of achieving this in a modest traffic zone), where the website is a good fit for your target audience and your knowledge and expertise. At the bottom of your article, you want it to list Your Name, Author of Your Book.

Passing out flyers generally isn’t effective because they just look like advertisements. Passing out bookmarks is much better because bookmarks serve a function – it has value to the recipient, especially if it doesn’t look like an advertisement for your book (it might feature images from your cover and mention no more than the title and author). Especially, distributing appealing bookmarks among your target audience can be helpful.

In every marketing strategy that you consider, think about the following:

  • Is this mainly reaching my target audience?
  • Does this provide valuable content to my target audience?
  • How will this affect my image as an author?
  • Will people view this as advertising or discovery?
  • Is it helping to establish your brand?

Click here to view part 3: https://chrismcmullen.wordpress.com/2013/04/14/effective-book-marketing-part-3/.

Chris McMullen, author of A Detailed Guide to Self-Publishing with Amazon and Other Online Booksellers

Follow me at WordPress, find my author page on Facebook, or connect with me through Twitter.

Effective Book Marketing – Part 1

Thousands of authors are actively promoting their books. A few do this successfully; many do not. A wide variety of marketing tools are available. A few work very well; some are ineffective; and others work well for some books or authors, but not well for others.

How do you know which marketing strategies will be effective for you?

(1) First identify your target audience.

This should be incredibly obvious, yet it’s extremely common to find authors promoting their books in ways that aren’t geared toward their target audience.

Your target audience is NOT anybody with a pair of eyes!

Sure, anybody with eyes can read your book, and you’d love to sell your book to everybody who can read. However, the reality is that the vast majority of people who will read and enjoy your book will be people who frequently read books from the same genre.

Don’t waste your time or money with marketing tools that are likely to yield a tiny percentage of new customers for your book. For example, if you promote a mystery novel in a way that reaches 1000 people, but only 5 of those 1000 people actually read mysteries, 99.5% of your promotion is being wasted.

Identify your specific target audience. A few people outside of your target audience may read your book, but the vast majority of your readers will come from your target audience, so focus on reaching people in your target audience.

People in your target audience are most likely to enjoy the book, give you word-of-mouth sales, and review your book. When you succeed in marketing your book to people outside of your target audience, they are less likely to appreciate and understand the book, spread the word to others, and review your book (and if they do, the audience mismatch might lead to a negative review).

That’s one problem with the KDP Select free promo books: Many people read books outside of their normal genre just because they’re free (and often don’t even read the description, Look Inside, or any reviews to try to learn what the book is about beforehand). When the book doesn’t live up to their (often unrealistic) expectations, this tends to show up in product reviews.

If your book is a romance intended for adults, then your audience is adult romance. Your target audience does not include erotica (otherwise, your audience would be erotic romance, not adult romance), nor does it include teen romance. You might get a few readers from these similar genres, but most readers will be looking specifically for adult romance.

(2) Gear your marketing efforts toward your specific target audience.

Your promotional strategies will be much more effective when your exposure primarily reaches members of your specific target audience. If you have a fantasy novel and leave flyers for your book on the windshields of cars outside of a science fiction convention, you’re wasting your time with a target audience mismatch. Even worse, if you pass flyers out at a mall, only a tiny fraction of the people there will be fantasy readers. (Then there is the issue of solicitation being prohibited at many places.)

Where can you find your target audience? Strive to understand your target audience. Where are they likely to hang out (both online and in person)? What common interests will they have?

You have to be realistic with this question, too. For example, many authors will fall into traps like, “Science fiction readers might play chess.” True, they might. What you really want to know is how many chess players avidly read science fiction? If it’s a small percentage, then it’s not worth your effort to target chess players.

For a science fiction book, you want to find places where you can interact with people both in person and online who are very likely to be science fiction readers. Going to a Star Trek party, attending a science fiction convention, joining a science fiction club, meeting people online at a discussion forum for science fiction, and writing articles about science fiction (and getting them published on blogs or websites with significant science fiction traffic) are examples of how to reach this specific audience.

With enough thought and determination, you can find your target audience. For a self-help book, for example, get involved in community service that relates to the subject. If you’re having trouble thinking of ideas of where to find your target audience, tell people about your book and ask for some suggestions.

Find Part 2 of this article here: https://chrismcmullen.wordpress.com/2013/04/13/effective-book-marketing-part-2/.

Chris McMullen, author of A Detailed Guide to Self-Publishing with Amazon and Other Online Booksellers

Follow me at WordPress, find my author page on Facebook, or connect with me through Twitter.

A Picture’s Worth Ten or a Hundred Thousand Words

According to the age-old adage, “A picture’s worth a thousand words.” That may be true in terms of how much writing it would take to describe what is shown in a picture.

Bear Words

However, when it comes to file size, this equation doesn’t hold true. Instead, a single picture may equate to tens or hundreds of thousands of words.

Each letter in a word uses one byte of memory. A small, simple JPEG picture that measures about 200 pixels by 200 pixels might have a file size of about 10 to 20 kb, where each kilobyte (kb) is 1000 bytes. A simple JPEG picture that measures 1200 x 1600 pixels might have a file size of hundreds of kb. Higher resolution images or rich formatting may easily drive the file size into megabytes, where each megabyte (Mb) equals 1000 kb or 1,000,000 bytes. (Note: k = kilo = thousand, M = mega = million. You wouldn’t mind earning a M$ from your royalties, for example.)

If a word is about 5 letters long, on average, this means that a simple 200 x 200 JPEG picture takes as much memory as about a few thousand words, a 1200 x 1600 JPEG picture equates to about a hundred thousand words, and higher-resolution or richly formatted pictures are worth nearly a million words.

Why does this matter? This affects both publishers (including self-published authors) and readers of eBooks. First, there is a maximum size on the content file of an eBook – for Kindle, it is 50 Mb, and for Nook, it is 20 Mb. An eBook that features many large, high-resolution, richly formatted pictures is in danger of exceeding this limit.

Secondly, the content file size may affect the list price and royalty. For example, with Amazon’s Kindle, an eBook can only have a list price of 99 cents if the content file size is below 3 Mb and a list price of $1.99 if the content file size is below 10 Mb; otherwise, the minimum list price is $2.99. If you want to sell a Kindle eBook for less than $2.99, you must keep the file size below these thresholds.

Also, Amazon deducts 15 cents per Mb from the list price before applying the royalty percentage for Kindle eBooks on the 70% royalty option. For example, suppose that you have a 10 Mb eBook that you want to sell for $4.99 on the Kindle. The file size deduction is $0.15 x 10 = $1.50, which means that the royalty is ($4.99 – $1.50) x 0.70 = $3.49 x 0.70 = $2.44. If the file size could be reduced to 5 Mb, the royalty would be increased to $2.97. In this example, saving 5 Mb of file size adds 50 cents to the royalty. For every 1000 books sold, this amounts to $500.

The effect of pictures on file size affects both customers and publishers. Customers appreciate pictures, especially if they have a color eReader like the Kindle Fire or Nook Color. They also like the pictures to have high enough resolution to see the image clearly on any device (from a tiny iPhone to an iPad) and to be formatted well. However, including more pictures also affects the price of the eBook, and – another important consideration – the delivery time of the download (the delay is even longer for older eReaders).

There is a trade-off between the benefits of including many high-resolution pictures and the disadvantages this has in terms of list price eligibility, royalty, and delivery time. The publisher is faced with a difficult challenge to balance this properly.

However, there are a few ways to decrease the size of the content file for the eBook. Keep in mind that you don’t want to sacrifice image quality in the content file for a paperback book, so you need to have two separate content files for your book – one for the eBook and another for the paperback.

In Microsoft Word, right-click on any picture in your content file, choose the Format tab at the bottom of the page, select Format Pictures, uncheck the Apply Only To This Picture box, and select a Target Output (if you have an older edition of Word, like 2003, the instructions are a bit different). E-mail resolution (96 ppi – pixels per inch) will give you the minimum possible file size, and is generally suitable for eReaders. I suggest saving your file with different names before and after trying this so that you still have the original.

Paperback books have the opposite problem. If you submit content and cover files to CreateSpace, for example, a common error is that a picture has a DPI (dots per inch) of less than 200. You want high resolution images on your paperback book, where there is a generous maximum content file size of 400 Mb.

Note the distinction between resolution and DPI. The resolution of a picture is based on how many pixels it measures across and high (like 600 x 800, which is common for full-screen images on eReaders), whereas DPI measures how many dots there are per inch on the printed page. The size of the picture in addition to the resolution affect how many pixels will span one inch.

Coincidentally, there are about 930 words in this blog article. So this blog is equivalent to a single picture – or about a tenth or hundredth of one in modern terms. Picture that!

Chris McMullen, self-published author of A Detailed Guide to Self-Publishing with Amazon and Other Online Booksellers (Volume 2 coming in mid-April)

Professional Touches that Make Books Stand out

Design Marks

Small professional touches on the cover, title page, copyright page, and first pages can make a big difference. They may be little design marks, but they help to create a favorable impression.

Self-published books are competing against traditionally published books. Some books appear very much self-published at a glance, others are obviously traditionally published, and there are also many in between – those that use an imprint and look very nice, but not quite.

When we’re buying books, we prefer to find those that look professional. For this reason, all publishers – self or traditional – want their books to look professional.

One way to tell is to carefully examine the cover and Look Inside. Don’t just read the first chapter: If you’re looking for a professional book, look for visual clues before investing time on Chapter 1.

Following are a few examples. I’m not affiliated with any of these authors in any way. I’ve never met or interacted with any of these authors. I haven’t even read these books (well, not yet): I chose them for the professional touches that they illustrate, not because I wanted to recommend the content.

(1) Enchantment by Guy Kawasaki:

http://amzn.com/1591845831

See the gold starburst on the paperback cover. Such a starburst doesn’t need to be an award; it can be any note worth highlighting, although in fiction it’s usually an award. (By the way, although this book was published with Penguin, this author has recently self-published a book with CreateSpace.)

Starburst

Look at the pictures in the Look Inside of the Kindle edition. These are not just the front cover repeated inside, but are sending a unified message with the front cover by using the same butterfly.

Interestingly, the Look Inside for the paperback brings up the “Kindle edition” (or so it says), but when you click on the Kindle edition and then Look Inside, it’s different. The actual Kindle’s Look Inside includes a logo, for example. The logo is another professional touch.

Study the copyright page. Every traditionally published book has a very detailed, professional-looking copyright page. Virtually every self-published book has a minimal (if any) copyright page.

Why? Because self-publishers are thinking (A) customers don’t care about the copyright page and (B) they want to get to Chapter 1 as soon as possible, hoping to hook the reader who begins reading. Think about why traditional publishers don’t similarly minimize their copyright pages. Their copyright pages look very professional.

Customers don’t stop and stare at the traditionally published copyright pages. They pass right over them. It’s not going to be a delay on the potential customer’s route to Chapter 1. However, customers will catch a glimpse of the copyright page as they skip past it.

When customers see the minimal copyright page, it creates the impression that the book is self-published. Not much effort was put into this page (perhaps like the rest of the book?). When they catch a glimpse of the long, detailed, professional-looking copyright pages of traditional publishers, it makes the impression that a professional staff has combed through and prepared the book.

(2) The New Rules of Marketing & PR by David Meerman Scott:

http://amzn.com/1118026985

You’ll find another starburst here; this cover also has matching top and bottom borders. (Note that this book is geared toward businesses.)

Check out the customer images and you’ll find an Amazon Video – a video from the author. There are many ways to use AuthorCentral to help make the book’s Amazon detail page look professional, too.

In the Look Inside, of course the copyright page is again very professional (since it’s published by Wiley). The page numbering, horizontal lines after section headings, and matching gray boxes outlining some short paragraphs are design touches that help the book appear more professional. Note that traditionally published books often have such design marks – which come in a wide variety of styles – but that they don’t overuse them.

(3) The Millionaire Next Door by Thomas J. Stanley and William D. Danko:

http://amzn.com/1563523302

This cover has a corner stripe with text instead of a starburst (but when you Look Inside, there’s a similar cover with a starburst instead of a corner stripe).

It also features a logo on the copyright page.

Topher

(4) Love Medicine by Louise Erdrich:

http://amzn.com/0061787426

Most fictional books that include a starburst do so to indicate an award of some type (whereas a nonfiction book that doesn’t have an award or bestseller rank to advertise might use a starburst just to say something like, “Includes answers”).

If you publish a fictional work and don’t have an award, note a couple of other design marks on this cover: part of a green circle on the bottom right and a quote between brackets at the bottom center. Harper chose to clearly advertise that this was a “newly revised edition” right on the cover.

Notice the logo/picture at the bottom of the title page, which also appears at the top of the copyright page.

Find the flowery artwork border at the top of the family tree pictures. Such artwork can also be used as section breaks (provided that it matches the theme of the book). If so, it should be short – just taking up about one line of text (and often isn’t nearly as wide as the artwork I’m referring to here). For eBooks, a glyph section break should be in gif (not jpeg) format, and should look good against white, sepia, or black backgrounds (it’s very important to check the preview in each format with each background).

(5) Wool by Hugh Howey:

http://amzn.com/1476733953

When you Look Inside, first you find the logo, then you see a cool picture on the next two pages that looks like the “page” is torn. Although this is now published by Simon & Schuster, this author had been featured at CreateSpace.

Banner

Look closely at a variety of traditionally published paperbacks (and, where available, compare with their eBooks). You will sometimes see a couple of lines or other marks on the cover, copyright page, and other pages, or special marks used in a page header or footer, for example. This sample will help you see what’s possible and help to inspire a professional looking design of your own.

Check out traditionally published books in your own genre to see what kinds of design features are common. Some kinds of designs are more popular in some genres and much less common in others. You don’t want your book to seem out of place.

Don’t go overboard and overuse design marks. Don’t make the cover too busy with too many design details. Notice that traditional publishers tend to add occasional touches. An occasional design touch stands out very well – you notice it better this way.

Make sure that no design marks or pictures seem out of place. Any glyphs or images should match the theme of the book.

Chris McMullen, self-published author of A Detailed Guide to Self-Publishing with Amazon and Other Online Booksellers (Volume 2 coming in mid-April)

Fighting Word’s Picture Compression

Microsoft Word has a tendency to compress pictures down to as little as 96 dots per inch (DPI), even when the box is checked telling Word not to do this. That’s great when there is a priority on saving memory, but not desirable when printing for quality.

The first step is to disable automatic picture compression, while realizing that this step – all by itself – is not sufficient. In Word 2010, for example, click the File tab, scroll down below Help to find Options (at first hidden toward the bottom of the list), select Advanced, scroll down to Image Size and Quality, and check the box that says, “Do not compress images in file.” Do this before inserting any images into the file.

Don’t copy and paste pictures into the Word document. Instead, click Insert and then Picture.

Don’t resize or otherwise manipulate the pictures in Word. Instead, edit the images with photo-editing software that doesn’t compress them prior to inserting them into the Word document.

Don’t use Save As to convert the Word document to PDF. Instead, print the file to PDF using a Word-to-PDF converter. For self-publishing, find a PDF converter that allows fonts to be embedded in the file and transparency to be flattened.

Also, check the DPI of the pictures at the source – i.e. the software (e.g. PhotoShop) or device (e.g. camera or scanner) that created the pictures. Using 300 DPI or more produces sufficient print quality images for most applications.

F8

As long as we’re talking about pictures, I may as well include one with a tesseract and a half-dozen planes intersecting in four-dimensional space. If anything else, it may help to make Word’s picture compression seem somewhat less complicated. 🙂

Authors of eBooks have the opposite problem. With eBooks, what counts is the number of pixels along the width and height. In this case, there is a premium on compressing the images in order to minimize the file size of the eBook. To compress the pictures in Word 2010, right-click a picture, go to the Format tab (that appears when a picture is selected), click Compress Pictures, choose 96 DPI (KDP’s recommendation for most eBooks), and uncheck the box that says, “Only to this picture.”

For eBooks, after inserting an image into Word, right-click the image, choose Size and Position, go to the Size tab (in the pop-up window), and set both the width and height to 100% scaling (Word automatically scales images down to a lower percentage when they would otherwise exceed the margin width).

May your pictures come out picture-perfect! 🙂

Copyright (c) Chris McMullen, Author of the Improve Your Math Fluency series of workbooks and self-publishing guides

An Effective Blurb: The Challenge of Writing Just a Few Words

Authors love to write. If you love to jog, running a marathon is easy. If you love to sew, knitting a blanket is fun. If you love to write, completing a novel is a breeze.

Typing tens of thousands of words comes very naturally to writers.

Writing very many words is easy. Writing just a few words is the real challenge.

That is, if you want a small number of words to be effective.

The greatest condensation challenge comes when the self-published author completes the book and must prepare the blurb. Most writers incorrectly view this as having to summarize tens of thousands of words with just a hundred words or so.

But the blurb shouldn’t be a synopsis. The function of the blurb is to entice readers to read the book.

The blurb has the best chance of persuading readers to look inside when it accomplishes the following:

  • Immediately captures the interest of the reader; it has to have a great start.
  • Engages the interest of the reader throughout; every sentence – phrase even – must intrigue the reader.
  • Sends the same message about the genre and content as the title and cover. Buyers want to know exactly what they’re getting; when they see mixed messages, they search for a different book. A target audience mismatch is a related problem: If the title and cover sound like adult romance, but the blurb sounds like teen romance, for example, the readers who are attracted to the book probably won’t buy it.
  • Arouses the reader’s curiosity. Don’t give too much information away; leave questions (implied or explicit) that require the reader to buy the book in order to find the answers.
  • Is well-written. If a hundred words or so have spelling, punctuation, grammar, and other writing mistakes, it doesn’t bode well for tens of thousands of words being well-written. Any mistakes in this short writing sample are deal-breakers.
  • Presents the information concisely. Longer blurbs are less likely to hold the reader’s interest. Bored readers don’t buy books. The longer the reader has to decide about the book, the more likely the reader will find a reason not to look inside. This is especially true in fiction. In nonfiction, there may be some books that have valuable content or features where a longer blurb may help sell the book. However, even in nonfiction, the general rule is that a shorter blurb is better.
  • Provides a clear description. Confused shoppers don’t buy books. Too many characters appearing out of the blue, information that seems ambiguous, words or phrases that don’t make sense to the readers, or anything that isn’t crystal clear to the vast majority of the target audience – these things are likely to blow the sale.
  • Creates an accurate expectation. Readers who are successfully enticed to make the purchase will return the book or provide a bad review if the book fails to live up to unrealistic expectations.
  • Looks appealing. Use block style with linespaces between paragraphs. Nonfiction blurbs that have multiple points to make can use bullets. Such formatting can be done through AuthorCentral.

That’s a tall order! A blurb, which must be short to be effective, has so much to accomplish. It’s quite a challenge to make a small number of words achieve so much.

Yet writing an effective blurb is very important. It can make the difference between very few or very many prospective customers looking inside.

There are three more challenges that fiction authors face when writing the blurb:

  • They tend to write summaries instead of blurbs.
  • They know the story, but often have trouble reading their description from the perspective of a reader who hasn’t read the book.
  • They are often partial to some information in the book which really doesn’t belong in the blurb (for a similar reason, there is often an extra out-of-place object on the cover).

Authors should place their focus elsewhere:

  • What are the main aspects of the book that make it very interesting? Stuff that doesn’t make it sound interesting shouldn’t be in the blurb.
  • What do members of the target audience who haven’t read the book think of the blurb? Feedback is very important. The most effective blurbs often undergo several major revisions.

Look back at the top of this blog article and you’ll see that it started with a few short paragraphs with space between them. When you first see the article, you only see the beginning of it, which – like a blurb – must catch and hold your attention. Evidently, it worked for you, since you reached the end. 🙂

Chris McMullen, self-published author of A Detailed Guide to Self-Publishing with Amazon and Other Online Booksellers (Volume 2 coming in mid-April)

Self-Publishing Success?

A few self-published authors have been highly successful, which shows that indie success is possible. But the odds are very long, as the vast majority of self-published books don’t even sell a copy per day on average.

What have the top indie authors done differently? Is it just dumb luck?

No!

Self-publishing isn’t like buying a lottery ticket where the odds are incredible. With the lottery, every ticket has the same odds. But all self-published books are not all equal.

Not every book has a chance of winning the self-publishing lottery.

The top selling indie authors have some things in common:

(1) They followed good business models. Some authors, like Amanda Hocking, actually researched business strategies in their traditional publishing pursuits.

Most self-published authors do one or both of the following:

  • They get an idea, carry it out, and publish it. Business-minded authors won’t write and publish any idea; they will develop the idea as an integral part of the business strategy.
  • They want to do something significantly different than what is traditional. This is great for authors who want to write as artists and aren’t concerned about lack of success. The problem from a business perspective is that the existing readership has well-defined expectations in each genre and the vast majority of books that they purchase meet those expectations. More of these readers will explore something significantly different if the author first publishes a couple of traditional books and then attempts something new after building an audience.

Some authors genuinely prefer to write as artists, knowing full well that sales might be considerably less than what they may be if they approach writing from a business perspective. There is much to be said for the writing artist. It’s just very challenging to get noticed this way and to establish a large readership.

I’m not saying that you should write for money and not write as an artist. Rather, since highly successful self-published authors follow good business models, let’s follow the logic behind business-minded book development and see where it leads. In the end, I will explain how an author might write as an artist – not for money – and yet benefit from some of the same logic.

A business-minded writer doesn’t just write a book, but develops the book idea as part of a business strategy:

  • Start out considering possible subjects and genres. Of those genres which are a best fit for your writing, which are most popular? What experience or expertise do you have? What needs are there on the market?
  • Research each of these possible book ideas. What books already on the market are most similar to each of these book ideas? Look at their sales ranks. What are the best books like these that don’t have a big-name author or publisher? The business-minded author chooses a book idea with the best potential in a genre or subject that he/she is most qualified to write.
  • Research the top books in the genre similar to the book in mind. Can you compete with the writing in these books? Read these books to learn the unspoken rules of the genre. For example, the business-minded author won’t allow the protagonist to act in a way that will upset much of the potential readership and will create an ending that will please the target audience. The business-minded author develops an idea and writes a book geared toward the largest possible target audience that he/she is likely to attract with his/her writing skills.
  • The business-minded author is thinking about marketing throughout the writing process. This author is seeking input on the cover, title, and blurb for two reasons: to help generate “buzz” about the upcoming book and to see what features please or upset the target audience. (In contrast, too many indie authors disregard important criticism that they receive and focus mostly on feedback that coincides with what they wanted to hear.) They develop a great cover – often hiring a great cover designer – knowing how important this is to marketing. They wrote their blurbs and first chapters to be captivating, knowing how strongly this affects sales.
  • Pinpoint the target audience and discover where to find them and how to reach them. The business-minded author is thinking long and hard what marketing strategies will be most effective for them. Those who have a knack for business tend to be the most diligent, motivated marketers. They also know how to use price, discounts, giveaways, and series to their advantage. Everything from the cover to writing to marketing is part of an overall business strategy.

We’ll return to writing artists at the end.

(2) Most tried diligently to get traditionally published, but didn’t succeed in this until after becoming successful as indies.

Although they didn’t get traditionally published (before they broke through), they were doing all the right things toward achieving this, which helped them develop the skills that they ultimately used to thrive on their own.

  • They tried to improve their writing to get traditionally published.
  • They spent much time studying readerships in an effort to identify their target audience, since publishers are very interested in this.
  • They researched business plans to develop book ideas and write proposals that would help them get traditionally published.
  • They learned about marketing in order to convince publishers that their books would succeed.
  • They attempted to meet people who might help them with their writing careers.

These are all valuable skills that any authors can benefit from, self-published or not. In the last point, they also developed handy contacts.

(3) They were highly motivated to become successful writers. You have to be highly motivated to learn about business strategies when your initial goal is becoming an author. All those rejection letters from traditional publishers fueled their motivation. The best place for those letters is a bedroom ceiling or bathroom wall that you’ll see every morning.

Never give up. Constantly strive to improve.

***

Back to my earlier point: You don’t necessarily have to write for money to be successful.

You can be a writing artist and succeed.

The pure businessman who develops the perfect business strategy to write and market a book is highly motivated to do the marketing, but must find the passion to put into the writing and learn to write well.

The pure writer who writes for art’s sake naturally writes well and puts the passion into the writing, but must find the passion to do the marketing in order to be successful.

There is a limitation from the pure business perspective – i.e. how well can you write, how well can you tell a story?

The limitation for the writing artist is that not all book ideas are good ideas, not all stories have a potential readership.

Almost nobody is a pure business person or pure writing artist.

Determine which side you’re on – those are your strengths. The more you’re willing to improve your weaknesses, the more balanced you’ll become as a self-publisher, which will increase your chances of success.

Chris McMullen, self-published author of A Detailed Guide to Self-Publishing with Amazon and Other Online Booksellers (Volume 2 coming in mid-April)

Grammar Style (Short ‘n’ Fun)

End a sentence with a preposition if you want to.

Commas, use them, frequently, if you like.

Don’t be afraid to use a semicolon; write without fear.

Occasionally, use an -ly adverb when carefully constructing sentences, even though you’re generally supposed to avoid using them unnecessarily.

Is it a hospital or an hospital? a R.S.V.P. or an R.S.V.P.? a @ sign or an @ sign?

I left him lying next to her pronoun because it was you that expected us to confuse them this way.

The object of this sentence is the subject, but that’s okay because the verb “to be” doesn’t take an object.

It is I, not me. Now use me, not I.

Tom looked at Bob. He winked. Tom wasn’t sure if Tom or Bob was supposed to wink. They went to the screenwriter for clarification.

Fragments. Useful. Sometimes.

This sentence was becoming very interesting until (a parenthetical remark appeared out of nowhere).

Hy-phen-ate – add a dash.

Punctuate (your) sentences “most ‘properly’”: Otherwise, your readership will complain; or worse – they might…

Mind your %$&# language!

SCREAM AND SHOUT WITH CAPS!

Squeezeitalltogetherbyremovingthespaces.

mIxInG iT uP: wHaT’s WrOnG wItH tHaT?

Don’t reck’n ’twas s’posed t’nclude s’many ’postrophes ‘n’ c’ntr’ct’ns.

Matter order not does.

Chris McMullen, self-published author of A Detailed Guide to Self-Publishing with Amazon and Other Online Booksellers (Volume 2 coming in mid-April)

Karma for Authors Who Self-Publish

In order to be successful, a self-published author must come up with a good book idea, develop a fine story, write well, edit the manuscript, learn how to format both a paperback and an eBook, and become adept at marketing.

That’s a tall order. Why risk all of that hard work with any possible bad karma?

If you don’t believe in karma, then don’t think karma – think branding. The image that you brand as an author can have a significant impact on sales. Don’t risk bad book karma or negative branding – whatever you prefer to call it.

What do you hope for as an author?

  • Many sales.
  • Frequent reviews.
  • Word-of-mouth referrals.
  • A nice review average.
  • Good and fair comments about your work publicly.
  • Necessary criticism privately.

Authors may not all share the exact same wish list, but these items are probably pretty high up on most writers’ lists.

Now assess your book karma:

Part 1 – You as a reader:

  • How often do you read self-published books (that you discovered yourself)?
  • Do you leave good reviews for books (written by complete strangers) that you like?
  • Which books (written by complete strangers) have you referred to friends, family, acquaintances, or colleagues?
  • What have you done that might help an author you don’t know whose book you enjoyed?
  • Have you ever (publicly) said anything bad about any other self-published books?
  • Have you ever (publicly) said anything bad about self-publishing? eBooks? Amazon? Kindle?
  • What do you say when people you know ask you about buying eBooks, whether you like your Kindle, if self-publishing is a good idea, etc.?

Part 2 – You as a writer:

  • Did you take the time to perfect the editing and formatting of your books?
  • How do you react when you receive criticism about your work (privately or publicly)?
  • Do you ever respond negatively to customer reviews?
  • In what ways have you helped other aspiring authors improve their own work?
  • Have you ever abused the customer review system, tags, likes, etc.?
  • How do you behave at online discussion forums and your other online activities?

Chris McMullen, self-published author of A Detailed Guide to Self-Publishing with Amazon and Other Online Booksellers (Volume 2 coming in mid-April)