Category writing

Apr 28 2013

Inspiration from Alfred Hitchcock

http://www.foxsearchlight.com/hitchcock/

Last night, I watched the recent movie, Hitchcock. Don’t worry: I won’t spoil the plot for you.

In this movie, I saw many parallels with the art and business of self-publishing:

  • The name Alfred Hitchcock was very well branded. The movie, while it may have a little more Hollywood style and a little less reality, provided some insight into his character as a movie maker. You can guess how his distinctive personality and specific talents helped with his branding.
  • The silhouette of Alfred Hitchcock was also very well branded. It wasn’t just a logo. Remember how he used to walk into the position where the silhouette would form? This technique really helped brand his image.
  • The movie revealed a few marketing tactics. He was not only renowned for creating suspense, but he was even effective at utilizing suspense in his marketing tactics.
  • At a stage where he may have been expected to retire, he dared to take a new direction with his filmmaking. He didn’t have the backing of the film industry (i.e. the big money) – at least, not to exercise his creativity and pursue this new direction his own way. So he was very much like an indie filmmaker. Of course, he had financial resources of his own, but he took a huge risk.
  • He abandoned the rules of what works and pursued his own ideals. Authors have long had traditional publishers telling us what works, not wishing to deviate more than about 10% from this established path. We now have the opportunity to pursue something different on our own. There is a great risk, as very often these new paths don’t succeed. But the door is now open.
  • Back in his day, censorship was fairly heavy. We have a great deal of freedom to write as we please these days, but a few authors still push the boundaries further. There will always be critics and lawmakers strongly involved in this.
  • Hitchcock didn’t just film a movie. You could get a sense for how much editing and formatting was involved afterward, and how important this was for the movie’s success. Similarly, there is much more to selling books than just writing them. The importance of editing and formatting cannot be overlooked.
  • In making a movie, there is a large production team involved with many people working on different tasks. These days, there are many indie authors trying to do the writing, editing, formatting, cover design, marketing, and public relations all on their own. At least, collaborating with others to share skills or ideas would help a little with teamwork.
  • It wasn’t just the movie idea that led to its success. You could see how the marketing ingenuity and seemingly little things like sound effects could play a very significant role. People skills and developing contacts are important, too. The same is true with publishing books.

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

Apr 27 2013

Murphy’s Laws of Writing

Writing

(1) You are more likely to be interrupted when you’re in the middle of a very deep thought. Silencing your phone, sending the kids out, and disabling the doorbell simply inspire Murphy’s creativity.

(2) Your muse will abandon you whenever you need her the most. But don’t worry: She’ll return as soon as you become too preoccupied to write.

(3) Your best ideas are most likely to come when you don’t have anything to write with or to write on. You’re also likely to be frequently interrupted between your moment of inspiration and the moment you’re able to jot it down.

(4) Whenever you correct a set of typos, you introduce some new ones.

(5) The fewer words you write, the greater the chances that there will be a glaring typo.

(6) Your worst typos are most likely to occur in the most prominent places, such as the first paragraph of the book or the book description.

(7) It’s much easier to see somebody else’s mistakes than it is to find your own.

(8) Not checking your preview or proof is like waving a large red flag with Murphy’s name on it.

(9) If you’re not sure about something that you’re writing, but don’t take the time to check, it will probably be wrong. However, if you do take the time to check, it will probably be right.

(10) The more people who read your writing, the greater the chances that there will be an embarrassing mistake in it. Presenting it to a large audience via PowerPoint improves the odds.

(11) After submitting revisions, if you quickly thumb through your book, your eye is very likely to spot a typo.

(12) The more frequently you check your sales report, the more likely you are to be disappointed.

(13) The more frequently you check your book reviews, the more likely you are to be disappointed.

(14) You’re much more unlikely to see a sale post on your report while you’re spending money.

(15) A good review is 100 times more likely to disappear than a bad review.

(16) One stupid comment that you make in the most remote corners of the internet is far more likely to generate publicity than anything else that you do.

(17) If you only have one copy of your file, this improves the chances that the file will become corrupt. The closer the book is to completion, the greater the odds.

(18) If all of the versions of your file are stored on the same computer, this improves the chances that the hard drive will crash.

(19) If you download a program to help with your book without paying attention to where the file is saved, it will be buried in the least obvious place.

(20) If you need to revise your book, but didn’t keep track of the location and name of the most recent file, you’re more likely to reintroduce old typos when you correct new ones.

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

Apr 26 2013

A Humble Little Book

Part 1

She worked from 9 to 5. It was a boring job, but it paid the bills.

From 6 to 10, she sat at her computer, typing a book. This was very fun, but just a hobby.

Several months later, her book was finished, but not yet complete. She spent a few more months reading, revising, proofreading, editing, perfecting.

Then it was time to share her work. She viewed her writing as a hobby, not as a profession. So she opted to self-publish.

Specifications. Formatting. Googling computer skills. Researching. PDF conversion. Formatting problems. Asking for help. Reformatting. Not the fun part of her hobby, but at the same time, she was growing anxious. So thrilling and nervous at the same time!

She thought about hiring an editor to help revise and format her book. She considered hiring a cover designer. But as this was just a hobby, should would settle for a humble little book. However, she did proofread it carefully again, and even sought help from friends.

The description was the hardest part to write. All in all, she wrote a dozen descriptions, and the last didn’t remotely resemble the first. It wasn’t a killer blurb, but she researched descriptions of similar books and sought advice from friends. It would suffice.

The biography was a stumper, too. Qualifications? Experience? Skills? Background? Then she realized that she wasn’t writing a resume. Writing was her hobby, not her profession. Readers might be interested in her life experience, not her writing career.

Author photo… (she was a little shy). But her writing was very personal, and she was sharing that. So she would share her photo, too. Not glamorous, but much better than the DMV.

Approve Proof. Click! Ta-da! Celebration coming on!

There it is on Amazon. Check that out. She showed her friends and family. Some pats on the back. A show of support. A little unexpected criticism.

Way down the search results. No reviews. Occasional sales. Well, she wasn’t a bestselling author; not bad for a hobby. Wrote and published a book: Quite an accomplishment!

Part 2

He saw the thumbnail. Not a Picasso. Not eye-popping. But there was something about it. So he clicked the link.

Didn’t sound like the popular books. But it was intriguing. So he looked inside.

Wasn’t fancy. But it was nice enough. And the story caught his interest. So he bought it.

Wasn’t flawless. A few typos. An occasional formatting mistake. But not enough to detract from the story. So he read it.

Wasn’t a nail-biter. Not a page-turner. Yet he enjoyed the story. So he finished it.

He even left a review and told a few friends.

Part 3

It wasn’t a bestseller. But it sold occasionally.

She didn’t market avidly. Yet many (to her) people read her book and truly enjoyed the story. She touched their minds. They shared experiences and emotions that she created. And they appreciated this.

She continued her hobby.

It was a humble little book. Yet it was a success.

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

Apr 25 2013

Common Blurb Mistakes

For online bookstores, the cover, title, blurb, and sample are the book’s only salesmen at the point-of-sale. A great blurb can help motivate purchases, whereas a lousy blurb tends to deter them.

(1) Summarizing the book.

The blurb’s number one priority is to create interest in the book, not to summarize it. Summaries often don’t sound interesting and provide too much information.

(2) Giving too much information away.

An effective blurb arouses the reader’s curiosity. Rather than answering all of the reader’s questions about the book, ask some questions – either explicitly or implicitly. A customer who wants to know something about the story has to read it to find out, unless the blurb answers the question.

However, nonfiction books should make the content clear.

(3) Building suspense.

Customers tend to be impatient. If the blurb (or sample) starts out slow, some customers will walk away without reaching the main part of the blurb. Start out by creating interest to capture the reader’s attention.

(4) Sending mixed messages.

The title, cover, blurb, and sample should send a unified message regarding the genre and content. The message should be clear in each component. Confused buyers look for other products that aren’t confusing. If the cover looks like fantasy, but the blurb sounds like science fiction, for example, then the audience that is drawn to the book won’t buy the book.

(5) Spelling and grammar mistakes.

If the hundred or so words in the blurb have any spelling or grammar mistakes, the tens of thousands of words in the book itself must be plagued with editing problems. At least, this is what potential customers will expect.

(6) Too long.

Buyers tend to have short attention spans. If a buyer becomes bored while reading the blurb, the buyer will check out a different book. The longer the blurb, the more difficult it is to hold the buyer’s attention throughout.

A long blurb also looks intimidating to some readers. There are customers who immediately return to the previous page when a blurb looks too long. This depends in part on the target audience, and is a bigger concern for fiction than for nonfiction.

(7) Overselling.

If the blurb makes the book sound far better than it actually is, the blurb will backfire as soon as customer reviews reflect this disparity. Also, when a book sounds too good, many customers will be skeptical.

(8) Bragging.

Boasting tends to deter sales. Avoid comments like, “This Book is much better than That Book.” However, stating that a book is similar to a well-known book or movie – without making it sound better – can help potential buyers understand what to expect. Compare this comment with the previous one: “This Book is similar to That Book,” or, “This Book is a cross between Book A and Book B.”

(9) Telling readers what to think.

If a book is funny, for example, there is no reason to come right out and say this. Let customers form their own opinions. Most people don’t like to be told what to think. Saying that the book is a comedy may be helpful, whereas saying, “You will laugh your pants off,” tells readers what they will do.

(10) Poor formatting.

Insert a linespace to separate paragraphs. Break large paragraphs into smaller ones. Don’t use returns to force text onto a new line in mid-sentence. Don’t format each sentence on a separate line (unless using bullets). Boldface, italics, linebreaks, and bullets are available through AuthorCentral for Amazon book descriptions.

(11) Not giving readers a good idea of what to expect.

While it’s important not to reveal too much information, it’s also necessary to provide a general idea of what type of book to expect. Nonfiction should also make the content clear. The blurb should attract the right target audience for the book. Otherwise, customers are likely to express negative feedback in customer reviews.

(12) Lack of feedback.

Share the blurb with several people from the book’s intended target audience prior to publishing. Discover how they react to the blurb – especially, what they do and don’t like about it.

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

Apr 22 2013

Rush, Rush, Rush to Self-Publish!

Day 0:

Think, think, think. Think. Think… think.

Idea!

Day 1:

Type, type, type. Type. Type. Type, type, type.

Day 14:

Type, type, type.

Day 30:

Writer’s block.

Day 35:

Type, type, type.

Day 60:

T. Y. P. E.

Day 90:

Ta-da!

Day 91:

Proofread, proofread, proofread.

Day 92:

P. R. O. O. F. R. E. A. D.

Day 100:

Research publishing options.

Day 101:

Decide to self-publish.

Sign up for an account.

Day 102:

Learn about formatting.

Day 103:

Format, format, format.

Day 104:

F. O. R. M. A. T.

Day 110:

Upload.

Day 111:

Check digital proof.

Day 112:

Ask for help on the community forum.

Day 113:

Implement formatting changes.

Day 114:

Re-upload.

Day 115:

Publish!

Day 116:

Celebrate!

Day 117:

Encounter Look Inside issues.

Day 118:

Post question on community help forum.

Day 119:

Reformat.

Day 120:

Republish.

Day 121:

Find book way down in search results.

Day 122:

Still no sales rank.

Day 123:

No activity.

Day 130:

Request feedback on community help forum.

Day 131:

Look for cover designer and editor.

Day 191:

Republish.

Day 200:

Sales still infrequent.

Day 201:

Look into marketing.

Day 210:

Why was I in such a rush to publish my book?

* * *

If only there were a better way, like:

  • Researching the book idea before writing.
  • Perfecting the craft of writing.
  • Reading bestsellers in the genre to learn what works.
  • Checking out covers of top sellers in the genre to see what readers expect.
  • Reading blurbs of best sellers in the genre to learn how to draw interest.
  • Getting the book edited before publishing.
  • Seeking feedback on the cover and blurb before publishing.
  • Learning how to create buzz for an upcoming book.
  • Learning about marketing before the book is published.
  • Marketing before the book is published.
  • Coming up with an effective promotion plan.
  • More marketing after the book is published.

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

Apr 19 2013

Three – the Self-Publisher’s ‘Magic’ Number

In many ways, the number three serves as a ‘magic’ number for self-publishing.

(1) Three words or less.

Bestsellers often have three or fewer words in the title. This makes the title easier to remember, which helps with branding and word-of-mouth referrals.

(2) Three images or less.

The best front cover designs often feature three images or less. This makes the cover more memorable, and helps book browsers quickly see what message the book is sending regarding its genre and content. Busy covers tend to deter sales. Just one striking image that signifies the precise genre and relates to the content is most memorable.

(3) Three seconds to catch attention.

Customers who are browsing for books in search results quickly glance at various covers. Book covers have just a few seconds to catch attention.

(4) The three-color rule for cover design.

Professionally designed covers usually follow the three-color rule. The primary color and secondary color should create marked contrast. An accent color complements either the primary or secondary. The colors come in the approximate ratio 6:3:1.

(5) The rule of thirds.

According to the rule of thirds, an image stands out when it is one-third from the edge, rather than occupying the center. This also helps to leave room for the title and other cover text. Visually, the rule of thirds helps the onlooker to determine which part of the cover is the main feature. With the three-second rule in mind, this is an important tactic. When the main image is placed in the center, it instead divides the book into two equal halves.

(6) The trilogy.

Customers who enjoy a book usually want more. Three books is the tried and true number, such that we’re all familiar with the term ‘trilogy.’ Do you happen to know the terms for series with a different number of books? Most of us don’t, but we all know the term for a three-volume set. Readers like it when each volume of the series provides a satisfying ending of its own, and where each volume is so good that they want more. But after the third book, it becomes a challenge to maintain the original spirit while also utilizing enough creativity.

(7) Three or more contributors.

The self-published author must do all of the writing, editing, formatting, illustrating, marketing, and public relations. Almost all authors need help with at least two of these areas. Most self-published authors should hire an affordable, yet quality, editor for proofreading or formatting and an experienced, inexpensive cover designer. Marketing is another area where authors need help, but where there isn’t an easy way to buy your way out of this necessary and challenging work.

(8) Three R’s of branding.

Authors and books get branded with repetition among the target audience. Branding results in purchases when members of the target audience recognize the book while making a future purchase. It’s most successful when there are many customers both recognizing the book from branding and referring the book to others because they love the book. A prior article discussed the three R’s of branding (actually, this article has a fourth R):

https://chrismcmullen.wordpress.com/2013/03/15/marketing-the-4-rs-of-branding/

(9) Three marketing targets.

Authors can receive early sales of their first book from family, friends, and acquaintances and also use this group to help create buzz. They can draw from their fan base for similar support of their subsequent books. Their ultimate target is new members from the book’s target audience.

An author’s personal social media account helps to reach friends, family, and acquaintances. Fan pages and blog or social media followers of the author’s writing account help to stimulate sales of subsequent releases. Keywords, tags, and hashtags help to reach new members of the book’s target audience, as do personal interactions online and writing articles, for example.

(10) Save novelties for book three.

Most self-published authors want to deviate from traditional bestselling ideas. But this freedom comes at a cost. It’s more challenging to market books that aren’t geared toward a traditional audience. Authors looking to be in the elite group of bestselling authors should seek genres in which they are a good fit to write and for which there is a very large existing audience, such as mystery or romance. Don’t break the unspoken rules (like not providing a satisfying happy ending or giving the protagonist character traits or actions that will upset many readers) and design a cover, title, blurb, and story that these readers will be looking for if you’re hoping to be a top seller.

Once you’ve established yourself and built a following, with your third book you can exercise some creative freedom and break some of these rules. This way, there will already be a large audience willing to try your creative book, whereas trying this with your first book may reach a very narrow audience.

You don’t have to “sell out.” You have the artistic freedom to write as you wish. The question is how you wish to weigh the benefits of doing what you want versus the benefits of selling more books, as there is often a very strong inverse correlation.

(11) Three types of author websites.

An author’s blog features daily or weekly written articles. An author’s website does more than this. It may offer the author’s books and related materials for sale or provide supplemental content, for example. A fan page is geared toward existing fans. The blog and author’s website hope to reach new members of the target audience as well as interest current fans with useful content.

(12) Three author pages.

Authors maintain an author page at Amazon through AuthorCentral. They also establish an author account at GoodReads. A social media fan page, at Facebook or Twitter, for example, is another avenue where customers frequently search for authors.

(13) Three-dollar eBooks.

With KDP paying 70% royalties on eligible eBooks with a list price of $2.99 and up, the three-dollar eBook has become quite common. This may not be the best price, but it’s certainly common.

(14) Three books on the signature line.

An author with very short titles can squeeze up to three books on the signature line of online posts.

Chris McMullen, author of Book One, Book Two, and Book Three. (If only I had had the wisdom of choosing shorter titles in the past, I could illustrate this by example without making up book titles. :-))

(15) Edit three ways.

First, scroll through the book to look for visual formatting issues, like page break problems or inconsistent headers. Next, read the book thoroughly for proofreading. Finally, check all references to page numbers, figures, tables, citations, etc. for nonfiction and check for consistency in character and storyline references and development for fiction. For both, check the page numbering of the table of contents.

(16) Three e-readers.

The original black-and-white e-readers had small screens and allowed only basic formatting. The new color and high definition e-readers have larger, higher-resolution screens. Many readers also use small iPhones. It’s a challenge to make an eBook that has pictures format well on all three devices.

(17) The first three months.

With the Coming Soon, Last 30 Days, and Last 90 Days links at Amazon, books have a brief window of opportunity to thrive and develop their own legs to stand on. Good sales and early reviews that come through effective marketing can get newly released titles better visibility in search results and several associations on Customers Also Bought lists to help them succeed after the first three months.

(18) Three page layout terms.

Self-published authors who publish a paperback may learn about page layout issues known as widows, orphans, and rivers (you can find good images for this with Google, for example).

Three cheers for self-publishing! 🙂

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

Apr 16 2013

Cost-Benefit Analysis for Marketing Books

When trying to decide if a book marketing strategy is worth doing, consider this in terms of a cost-benefit analysis. What you hope to determine is whether the costs are worth the prospective benefits.

Even if the marketing technique is free, it still costs time. Time is money. You don’t want to spend several hours per week doing marketing work that yields very little in return. So you must factor both money and time into the costs.

Benefits very often aren’t measured in immediate sales. Marketing that helps new members of your target audience discover your book or which improves or furthers your branding efforts has value, too. Some sales from continued branding efforts may not come for months.

There are also other possible costs (besides money and time) and benefits (besides sales, discovery, and branding).

For example, a marketing strategy that places books into the hands of people outside of your target audience might be more likely to draw negative reviews, since these readers may not really appreciate and understand the genre. Similarly, giving your book away for free might draw a negative review from a customer who didn’t take time to read the description and therefore didn’t get what was expected. A few negative reviews help to provide balance and sometimes have a positive effect on sales, but too many negative reviews can deter sales.

On the other hand, some marketing strategies may be likely to result in positive reviews and word-of-mouth recommendations. The more customers who read your book and like it, the more good reviews and word-of-mouth sales you may receive. When the readers are in your target audience or are bloggers who frequently review books in your genre on their blogs, for example, this improves these prospects.

Another thing to factor into cost-benefit analysis is the quality of the product and packaging. The packaging includes the title, blurb, Look Inside, and customer reviews. The better the packaging looks, the more this will help to magnify the benefits of effective marketing; the worse the packaging looks, the fewer benefits any marketing will reap. Similarly, a better book is more likely to receive good reviews and recommendations, while a poor book that receives many low-star reviews will inhibit sales.

Even a seemingly small thing like the title can impact this. A title that’s short and easy to remember is more likely to earn word-of-mouth sales. Just imagine this: “Oh, that reminds me of a great book that I read once. Oh, too bad I can’t remember the title of it.”

Realize that some marketing strategies may be reaching the same members of your target audience. Very often this is okay because it takes repetition for branding to become effective, but it’s still something to consider.

When you’re thinking about costs, you should be thinking:

  • How much money will you need to spend on this marketing strategy?
  • How much time will you need to spend doing this marketing?
    • What impact will this have on your author image? Anything you might do to brand yourself with a negative image can be a hefty cost.
    • Might this cause people to buy the book without realizing what they’re getting? For a free book promotion, for example, this could be the case. If so, these customers are more likely to express frustration if the book doesn’t meet their (sometimes unreasonable) expectations.
    • Is there any reason for customers to feel that the book is unprofessional? Poor editing, formatting, or storyline, for example, may result in bad reviews.

For benefits, you can’t calculate how many sales you will derive. Many of the sales may not be realized for several months. Instead, you should be thinking:

  • How many new members of my target audience will this reach? Don’t waste your time with marketing efforts that aren’t geared toward your target audience.
  • Will the interaction be personal or impersonal? Will it be engaging, or momentary? Personal, engaging interactions make a much stronger, lasting impression. Impersonal and momentary interactions are only worthwhile in very large numbers.
  • Does this come across as self-promotion, advertising, or salesmanship, or does this work like discovery and branding? Most people have an aversion to the former, but respond well to the latter.
  • Is this likely to generate thoughtful reviews from members of your target audience or bloggers in your genre?
  • Are you putting the book in the hands of highly social people in your target audience who may, if they like the book, spread the word in person or on Facebook or Twitter?
  • How strongly do you believe in your book? The better your book is cover to cover, the more it enhances these benefits through possible reviews and recommendations.
  • Have you written a series where the book is good enough to induce purchases in subsequent volumes? If so, prospective sales of the later volumes can significantly enhance the benefits.

Example 1. Should you invest in professional cover design?

Costs: How much will you pay for the service? Divide the financial cost by the per-book royalty to see how many copies you must sell just to break even. How much time will you invest looking for a designer and then interacting with the designer throughout the process?

Benefits: How much will the cover improve over what you could do yourself? Will you sell most of your books in person or at Amazon? Your cover is far more important at Amazon. Will the cover attract your target audience? How well will the cover stand out among other thumbnails in your genre? Are the blurb and Look Inside effective enough to seal the deal? Will the book live up to the expectations? Is there a large market for your book idea? You can search for other books similar to yours and see how well they are selling.

Example 2. Should you invest in bookmarks?

Costs: How much will you pay for the bookmarks? How much time will you invest looking for a company to make them, developing a design, and distributing them?

Benefits: Will they be appealing enough for people to use them? If they look like advertisements, no; if they only mention your title and name, but mostly have appealing images, yes. Will they be distributed primarily among new members of your target audience? Seeking feedback on the bookmark design may be helpful.

Example 3. Should you give your book away for free?

Costs: Every book that you give away is a royalty that you won’t earn. If you give away paperbacks, it also costs you money to print the books.

Benefits: Are most of the recipients in your target audience? What are your prospects for word-of-mouth sales? Do you have other books that may interest the customers if they enjoy your book? Giving away the first book of a series may help to sell subsequent books in the series, provided that the first book is very good.

Example 4. Should you write an article that relates to the content of your book?

Costs: How much time will it take to research magazines, newspapers, and websites that are a good fit for your target audience? How long will it take to write the article? How much time will you spend on submissions? What are the prospects for having your article accepted? If you have relevant expertise and experience with the subject matter, this greatly improves your chances. Also, there are very many websites online. Finally, in the worst-case scenario, you can always post the article on your own blog or other website.

Benefits: What is the circulation of the magazine or newspaper, or the frequency of site views of the website? What percentage of this audience is a good fit for your book? Will your name and the title of your book be visible at the bottom of your article? This helps with discovery and branding.

* * *

For each marketing strategy that you consider, make two lists – one for costs and another for benefits. Is this geared mainly toward your target audience? That should be one of your main questions. Remember that discovery and branding among your target audience are very helpful long-term benefits. Another main question is: Will this seem more like advertising or discovery? A marketing strategy is worth adopting when benefits outweigh the costs (and not just slightly).

Let me mention one more important benefit. For many authors, this may outweigh many of the other benefits. It’s not just about sales, is it? Many of us write for other reasons besides money. Even if we didn’t write for money, we still appreciate those royalty checks. (You might ask, if you’re not in it for the money, why not give it away for free? Maybe we want our work to be valued. If we give it away for free, many people who may have read our books might feel that if it’s free, it isn’t worth reading.)

If money isn’t your only motivation, there are some other benefits to consider. There is the benefit of sharing your work with others, telling your story, having your work appreciated, spreading knowledge, etc. But if you think about it, these really amount to the same thing as sales: The more books you sell, the more your work is shared with others, the more knowledge you spread, etc.

What I had in mind is a benefit that doesn’t correlate with sales. That’s the benefit of the marketing endeavor itself. For example, blogging is something that all writers should do even if a cost-benefit analysis says that it’s not worth doing. As writers, blogging is a useful creative outlet. We can explore new techniques, try a different voice, develop a new character, receive feedback, reduce stress by getting stuff off our chests (but beware that what you say could negatively impact your author branding), etc. There are many positive benefits of blogging that make it worthwhile even if this effort doesn’t result in a single new sale.

Another example is performing community service. If you write a self-help book, you may be able to get discovered by members of your target audience through your involvement in related community service. Even if this doesn’t make sense from a cost-benefit analysis in terms of sales, though, there are many other benefits of community service that may make it worthwhile.

For other marketing strategies, you might also consider if there are valuable benefits other than just sales that may make it outweigh the costs.

Don’t market for the sales. Be passionate about your writing and market to share your passion. Don’t market just to share your passion. Be passionate about the marketing strategy itself – e.g. be passionate about blogging, writing an article, or doing a book reading. When others indirectly see your passion, it has a positive impact on sales (but don’t be boastful, overconfident, or talk about your book too frequently, as these things deter sales).

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.

Apr 10 2013

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)

Apr 7 2013

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)

Apr 6 2013

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)