Hi Everyone!

I know, it’s summer and you guys are all taking a bit of a break, enjoying family, friends, sunshine and possibly the occasional adult beverage. That’s awesome! 

But, while you’re on this writing hiatus, it’s also a great time to think a bit about things that there’s never enough time for…like how to better reach readers and sell more books!

One of the best things you can do to boost your success is market to your exact reading audience

AND, one of the really terrific ways to do THIS is to determine who your influencers are (the people who already have great relationships with your readers) and build a relationship with them.

That’s why I’m over at Jane Friedman’s blog today, discussing Authors, Do You Know Who Your Influencers Are?

So stop in and find out what an influencer is, what you can learn from them, and how to reach out to then and build a genuine relationship that will benefit you both.

(Please feel free to pass the link on to any other authors you know who might also need help reaching their readers, too!)

Cast Your Vote & Choose The Final Entries Emotional Wound Thesaurus Entries

As I mentioned in the last post, we’re going to retire the Emotional Wounds Thesaurus soon on the blog so that in a month or two, we can begin turning it into a book. Now the word “retired” caused a bit of panic, so let me be clear that the entries will remain here on the blog for the foreseeable future–you’ll have access to them. We just won’t be “adding” to the entries each week here on the blog, make sense? All new entries we write will be added to One Stop For Writers first, and then turned into a book.

So, hopefully that eases some concern.

We do want to put up a few last entries before we retire the thesaurus, and thought it would be fun to have you vote on which ones we do. So based on all the terrific suggestions the last few days, Becca and I have narrowed it down to 10 choices:

1. Being bullied
2. Being the victim of a toxic relationship
3. Being rejected by one’s peers
4. Unrequited love
5. Growing up with a sibling with a complicated medical condition/chronic illness
6. Growing up with parents who fought constantly
7. Losing one of the five senses
8. Growing up with a parent who is a pariah (is reviled in the community)
9. Being so beautiful it’s all people see
10. Living with mental illness

So, give us your top 3 choices in the comments (by number please), and starting this Saturday, we’ll profile the ones with the most votes!

Image 2 via Adam McGuire @ Pixabay

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The post What’s One Of The Best Ways To Reach Your Readers? appeared first on WRITERS HELPING WRITERS®.

Super thrilled to have author Diane Rinella with us today, who has a ton of experience with audiobooks and has put together some great information for anyone looking to take the leap. Audiobooks are a completely different animal than ebooks or print, and this post can save your a lot of time, heartache, and money.

Plunging Into Audiobooks

I love audiobooks. Many find the convenience of listening to them nearly anytime and anywhere a virtue. But for me, the appeal is how I get to listen to another person’s dream.

For years, hearing your book come to life was a fantasy reserved for top-selling authors. But we live in an amazing age where technology makes yesterday’s imaginings today’s reality. Not unlike how Amazon helped drive the Indie ebook revolution with Kindle Direct Publishing, they are at it again with Audio Creation Exchange. However, much like the trials of ebook publishing, sharing your book with listeners is not as simple as reading it aloud. Thus before hiring a producer, or biting the bullet and self-producing, a few things are worth considering.

Before moving forward, let’s define a few roles:

Producer – The person who records and masters the material. This may be the same person as the narrator/voice actor.

Narrator – The general term for the person performing your book.

Voice Actor – May also be referred to as narrator. However, this person can also bring multiple voices to life and expresses emotion.

FIRST, DON’T RUSH INTO THINGS

Take a deep breath, because there are a few things to consider before you look for a producer. Remember everything you did (such as editing and formatting) to give consumers the best reading experience? Now you need to determine how to give them the best listening experience.

Pay Per Finished Hour or Royalty Split

Just like any other project, what you can afford will guide your decisions. ACX offers a great program called Royalty Share. The author provides the book, the producer records it, the author approves it—both split the proceeds. However, some producers will only accept projects paid by the finished hour. (If the producer spends forty hours on a project that comes in at eight hours long, you pay for eight hours.) All sales proceeds go to you. However, a finished hour can range between $50 and $200. Most novels are eight to ten hours long. Will your budget cover $400 to $1600? If not, you might consider a royalty share or self-production. (We will return to that can of worms later.)

Narration versus Acting

Would your book benefit most from narration, or should a voice actor bring the characters to life? Are you dead set about how the narrator, or any of the characters, should sound? These questions led me to a dilemma. Scary Modsters … and Creepy Freaks, was written in three, first person POVs, two of which are male and one of those is from East London.

I wanted multiple actors, not to mention a proper accent.  However, I quickly found my dream scenario required hiring four people and heavy editing. Since the price tag would be at least a hefty $400 per finished hour, the only cost-effective option was to go with one, very talented producer. Fortunately, Hollie Jackson came to the rescue. Hollie is a partner worth her weight in gold. Partners can make or break a project. (More on partnerships later.)

Books Are Meant To Be Read, Not Heard

Writers often give visual clues that do not translate into audiobooks. Are you willing to consider changes that improve the experience, or must the audio version match the original text without fail? Some things can enhance the listening experience, either by adding or removing them. One of those is dialog tags.

The visual characteristics of a quoted sentence ending and a new paragraph beginning with another quoted line is an accepted cue a new person is speaking. If the conversation is two-sided, a dialog tag may not have been deemed necessary. If an actor uses vocal changes to represent new characters, a dialog tag may still be unnecessary. However, in the case of straight narration, where all voices sound alike, adding one would eliminate confusion.

Conversely, when a character’s speech spans multiple paragraphs, writers often add the clue, “he continued.” However, when a character is read with a distinct voice, not only do these clues become unnecessary, they become pace-breaking distractions.

Italics are often used to stress a word or to reflect deep thought. Stressing these items is part of a narrator’s job. However, quoted italics can reflect hearing a person’s thoughts, such as during telepathy. If you did not use dialog tags such as, “he thought”, translating the idea of telepathy into audio may be difficult, and changes should be considered.

Consider making listening-enhancing revisions before submitting your manuscript.

Ready? Let’s Dive In!

Let’s get to the fun stuff! There are many ways to create an audiobook. To keep this simple, I will focus on two methods; using ACX to hire a producer, and the self-production method—both of which I have experienced.

ACX: MAKING HIRING & PARTNERSHIP DECISIONS

Whether you seek a royalty split or to hire someone per finished hour, here are some things to keep in mind when pursuing talent and when listening to auditions:

Reputation – Simply stated, never jump into a partnership without ensuring it will be a strong one, and never hire a person you don’t want to work with. I turned down numerous offers for many reasons—some of which were less than stellar reputations for delivering the basics. Do not be afraid to ask your friends for recommendations or producers for references.

Voice and Characterization – Does the narrator have an appealing tone? Does she “feel right” for the part? Is the accent appropriate yet understandable? Determining voices and narration style before signing a contract is key. While the writer must be comfortable with the presentation, nitpicking over a performance is best saved for the actor. Both need to set realistic expectations. My partner, Hollie Jackson, summed the characterization process beautifully. “I truly think the absolute biggest thing is to trust your narrator, particularly in regards to characterization. If an author can provide notes to give us a direction to point our voices, it takes a huge load off of us trying to figure out how a particular character sounds. But by that same token, sometimes a character will strike a particular reference chord, and things might sound a little different compared to the voice in the writer’s head. Being able to work with that is a huge part of the process.”

Quality/Mastering (hiss, pops, clicks, timing) – Inadequate mastering can ruin a brilliant performance. While ACX has strict submission requirements regarding noise floor (the level at which hiss is heard) and level variation (a whisper and a yell need to be close in volume), there are no stated requirements regarding pops and clicks. Listen for these, along with timing. Timing is not only the pace at which a book is read, but also how lines are delivered. For comedy, the outstanding timing of Robin Williams and George Burns had us rolling in the aisles. Dramatic timing is just as important. The demo’s timing should fit the book’s genre.

Eliminate Surprises – If part of the audition seems unfitting, yet you still suspect the voice actor could be a match, express your concerns and request a new audition. Re-reads are not unreasonable and may save both the writer and producer many headaches.

Building A Partnership – I cannot stress the importance of this enough, especially if you wish to do multiple projects with the same person. I tell Hollie all the important things up front and then let her work magic. As a fellow actress, I completely agreed when she said, “Micromanagement is the hugest creative buzzkill around.” However, she also respects my concerns and will quickly make changes when things go awry. The bottom line is, if you are concerned that a producer will not give you the end results you desire, either find someone else or self-produce.

DIY: SELF-PRODUCTION

I will preface this by saying I have decades of acting experience—stage, screen, and voice. Since my husband is an Indie film director/producer, resources are at my disposal. Still, it took quite a bit of working with sound engineers before I could produce a solid audiobook.

The absolute basics to home recording include: a room with a low noise floor (I lined the quietest room in my house with moving blankets.), proper equipment (A good microphone, a pop filter, a pre-amp, a Mudguard, and a stand will cost several hundred dollars.), and editing software (I pay $20 a month to use Adobe Audition.).

In a nutshell, recording two takes without outside sounds (birds, pets, kids, cars, planes) generally gets you what you need. Edit these into one good take before removing pops, clicks, and rustling. In my case, I also have to remove background hiss. Top all of this off with balancing the levels. (By the way, you might want to consider that it takes Hollie about two hours to record and master one finished hour while it takes me three or four. Be prepared to invest some time.)

Have I scared you out of the self-production method yet? Learning the recording and mastering process is a hurdle, yet producing audiobooks is simple compared to other types of sound engineering. While I highly recommend ACX’s video series on recording, the installment on mastering falls short of providing usable information. Thus, you might want to consider hiring someone to master your files. However, if you really want to give it a go, ACX does have an Audio Masters class.

HYBRID: SELF-PRODUCTION & HIRING A PRODUCER 

ACX does not offer the option to hire a producer, only to master files. Thus, you will need to pay someone outside of their system. Professional sound services can be expensive and offer more than you need for an audiobook. I strongly suggest contacting local filmmaker groups (Here in San Francisco, we have Scary Cow.) or colleges to seek emerging talent at a reasonable rate. Though there are also services that will perform this task for you, I’ve yet to find an author who has done this, thus I cannot make a recommendation.

 This is a lot to digest, but once you get your head around the process, it’s actually a lot of fun. I have to say that having done this with a partner and now producing myself, I prefer the partner route. Then again, I struck gold with Hollie. With a little determination to find the right person, you can too. Either way, bringing your book to life is a rush akin to the time you held your first novel in your hands!

The benefits to partnering with an experienced producer are no learning curve, a faster turn around, often better talent than an inexperienced performer can provide, and a built-in audience, as many often have their own fanbase. The con is you may not get the creative control you desire.

The benefit to self-production is full creative control. The cons may include steep learning curves in voice acting, recording, and mastering.

Diane Rinella

Enjoying San Francisco as a backdrop, the ghosts in USA Today Bestselling Author Diane Rinella‘s one hundred and fifty-year old Victorian home augment the chorus in her head. With insomnia as their catalyst, these voices have become multifarious characters that haunt her well into the sun’s crowning hours, refusing to let go until they have manipulated her into succumbing to their whims. Her experiences as an actress, business owner, artisan cake designer, software project manager, Internet radio disc jockey, vintage rock ‘n’ roll journalist/fan girl, and lover of dark and quirky personalities influence her idiosyncratic writing. Hang out with her on Twitter, Facebook & Goodreads and find more audiobook projects here.

Hollie Jackson

Taking her own love of storytelling, not just for her own work, but that of others, Hollie (aka Narratrix) found her true calling in the vocal booth. From the innocent to the risqué, the snarky to the serious, Hollie’s voice brings characters of all types to vibrant, compelling life, letting you sit back and allow the words to wrap around you and work their resonant magic. With over 300 audiobooks narrated and produced to date, Hollie enjoys an eclectic range of genres and has worked with authors/publishers who are both Indie and NYT/USA Today Bestselling.

Want to check out Scary Modsters yourself? here’s a soundbite:

Rosalyn possesses a sunny personality that is laced with quirks. Although she seeks acceptance in a world where she lives out of time, what she gets is ridiculed for her eclectic wardrobe and unconventional music collection.

One fateful night, Rosalyn bewitches Niles, a stylish man whose offbeat character perfectly complements her own. Unfortunately, he possesses a critical flaw that means relationship suicide for him and pretty much anyone.

While under the influence of insomnia-impaired judgment, Rosalyn summons Rock ‘n Roll deity Peter Lane back from the dead. Not only does he spin her hormones into a frenzy, Peter is also the precarious puzzle piece that brings sense into her world. When Niles learns that he can overcome his life-long challenge by helping Peter avenge his death, how far will he go to secure Rosalyn’s heart?

Have an Audiobook Production question for Diane? Her brain is stuffed with knowledge and experience, so let us know in the comments.

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The post Taking the Audiobook Plunge? Read This First appeared first on WRITERS HELPING WRITERS®.

We’re going to throw something different into the mix today: a post about screenwriting mistakes. This is an important post for all writers to read, including novelists, because the same advice can easily be translated to your fiction stories as you set out on the query trail.

For those who know us well and have read our books, especially The Positive Trait and Negative Trait Thesaurus books, you know we are huge supporters of writers learning from screenwriters and screenwriting structure techniques. One of our favorite instructors is Michael Hauge in fact, so much so that we’re bringing on a Story Structure tool that incorporates the 6-Stage structure model over at One Stop For Writers. (You can find out more about that incredible bit of news [and sneak-a-peek at what it looks like] HERE.)

All right, time to hand things over to our guest today, Norman Arvidsson. Please read on!

 “The Play’s the Thing” – Unless You are Committing These 10 Errors

90% of the scripts registered with the WGA are never completely read by script readers. They are rejected early on by readers who are overworked and pretty intolerant of basic errors that would-be screenwriters make. If you want to be in the 10% that get fully read and receive that call for further discussion, then don’t make these 10 fatal errors.

1. Poor Development of the Main Character(s)

There are several potential goofs in the area of character development.

• First, don’t write physical descriptions of your main character(s). You may have a picture in your mind of a character, but first readers don’t want that picture. They want to develop their own physical picture as they read the script. It can be irritating to a reader to have a physical description forced on them in the beginning.
• Second, the character must face at least one issue that is big enough, even in comedies. If s/he does not, then there is no way the script can ever be translated into a full length play or movie.
• Third, the character has to stay in character. Yes, events may change his/her mind about something, but the basic personality has to stay.

The way to avoid problems with consistency of character is to have your entire plot at least outlined before you begin to write page one. If you develop your plot as you go along, then you are trying to make your characters “fit” into a plot you are continually developing. It never works.

2. Poor Structure

If you are writing a script, it is assumed that you understand the components. You have to include each of those components in sequential order, and the readers has to be able to locate them as the script is reviewed. Of course, you know that you have to have an initial incident or conflict, followed by that initial turning point, the mid-point, a second turning point and then the climax and resolution. If you cannot identify these elements in your own script, something is wrong. The best way to avoid this is to have a storyboard before you begin to write. You are then able to label each plot section, know that your sequencing is correct, and see that each component is actually there.

3. Too Long/Too Short

One of the first things a script reader will look at is the length. These people know what you should know too. A script has to be between 90 – 140 pages. If it is too short, you have either left out important plot elements or truncated some of the scenes. If it’s too long, you have irrelevant content and scenes are too long. When scripts are not a reasonable length, the issue is usually poor structure. Return to your storyboard, take each section, read through that section of script and determine its “tightness.” If your script is too long, are you be-laboring dialogue by repeating a characters thoughts? If it is too short, do you need to develop an element further through more dialogue? The other possible problem, of course, is that the issue/conflict is not complex enough for a full-length script. Then you are back at square one.

4. Giving the Reader too Much Character and Scene Description

Script readers are very good with “filling in the blanks.” And they want to read something that lets them get their own mental pictures. So dump the long descriptions of the settings and characters. Descriptions should be minimal – just a couple of phrases. If you want excellent examples of this, pick up a copy of a Shakespearian play and read the descriptions at the beginning of the scenes.

5. Bad Writing (avoid writing mistakes)

Script readers are pretty much well-schooled in grammar, word usage, spelling and punctuation. They are happy to forgive a few typos, and of course there are grammatical and agreement errors in the dialogue of characters who are supposed to have them. But beyond that you really need to avoid writing mistakes. Script readers are easily irritated by these types of errors, and that irritation will carry over to their overall feeling about your work. If you struggle with grammar and composition, find someone who is more expert to edit your script.

6. Unoriginal Plot and/or Characters (Derivatives)

Of course you have your favorite authors and playwrights. We all do. But your love for a particular character or story line cannot carryover to your writing. Find inspiration for characters elsewhere – life is full of them. Use combinations of people you know or have known, unless, of course, your work is based upon some prominent real person. Script readers are looking for originality and they can pick up derivatives pretty quickly (so can an audience).

7. Tired Dialogue

What no one wants to read or hear is dialogue that is filled with tired and overworked phrases or clichés. It’s not fresh and original, and you work will be in the 90% rejection pile. As you write, flag those parts of dialogue that seem “tired” or worn and move on so you don’t disrupt your flow. You have time to think about fresh ways to say something later on. Go back to those flagged pieces when you are finished, get some ideas from other creatives you know, and freshen up those spots.

8. Characters Who “Tell”

The whole point of a screen play is to tell a story through the actions and dialogue of the characters. When a character says, “I am really angry with you” to another character, you are boring an audience. When characters say, “I love you” too much to each other, you are boring an audience. These things need to be shown not told. If you have a character who is angry, in love, in crisis, etc., go back and study movies or plays in which characters had these emotions and issues. Get some ideas about how to show them through dialogue and nonverbal behaviors.

9. Not Resolving Every Conflict/Issue

This is known as “fudging” and it does not work. If you have not resolved everything by the end of your script, do not submit it. You cannot just gloss over stuff and hope it is not detected. It will be detected, your story will not be complete, and your submission will be rejected. You have to wrap everything up and “tie a bow” on it. Go back to your storyboard. Find every conflict and issue. Then mark on that storyboard where it has been resolved. Resolution of all means you have a “tight” plot, and this is what script readers must see.

10. Format Issues

Don’t have your script rejected because you failed to follow proper format. If you don’t understand format for submissions, then get thee to a website that explains it or check with someone who is “in the know.” This is the easiest error of all to correct.

There are lots of reasons why scripts are rejected. Don’t count on a script reader to provide the details for why yours has been. S/he doesn’t know you personally and does not have the time to give feedback unless there is interest. Screenwriting is a creative art to be sure, but there is also a “science” involved. These 10 errors are part of that “science,” and they are critical.

Norman Arvidsson is a freelance web developer with more than two years of experience behind him and also a contributing blogger.

He is interested in web-design, web development, motivation, online education and personal growth. You can contact him through his Twitter, Facebook, Google+ or LinkedIn.

Have any questions about these 10 error to avoid? What would you add to the list? Let us know in the comments!

The post Why Scripts Are Rejected: 10 Screenwriting Errors To Avoid appeared first on WRITERS HELPING WRITERS™.

Becca and I love you guys. We want to see you break barriers, build careers, and enjoy success after writing success. Supporting you is what we’re about and what we do. We enjoy helping however possible, encouraging each of you to grow and be awesome as only you can.

To do this well, sometimes we have to nudge. Push a little, even. But our hearts are in the right place, because there’s no point candy coating the work it takes to be a successful writer. It will require every drop of strength and persistence you have to keep moving forward in the face of obstacles, rejection and doubt. You will have to grow thick skin, thicker than you ever thought possible. You will have to wear the hat of a learner, because you will never know it all or reach a point of ‘good enough’ when it comes to writing. There will always be more craft to absorb, more skills to hone, more marketing and business challenges to overcome, more work needed to expand your career, year after year.

So in our tough-love yet encouraging fashion, Becca and I are starting the year with a challenge for you: steer your own ship. Make a plan. Treat your writing like the business it is.

And this isn’t hot air, I promise–we live what we preach. Since organizing ourselves and adopting a yearly business plan in 2012, we have accelerated our careers. Not only have we built multiple businesses, published books in 5 languages, created a one-of-a-kind writing library and grown Writers Helping Writers into a learning hub with a loyal following, we teach and speak professionally as writing coaches. It didn’t happen overnight, and it didn’t happen easily, but it happened.

And guess what? Neither one of us is special. We don’t have a magic 8-ball, or pet hamsters that shoot lasers out of their eyes while predicting the future. We’re just Angela and Becca, two writers who met in an online critique group.

What’s I’m saying is…if we can do this, you can too. So let’s get started.

Organize The Chaos

Most say writers write, but I think writers actually juggle. Yes, they do write, edit, and learn. But they also research the industry and their audience, build a brand, create a platform, handle marketing, promote, and run a business. And that, my friend, is juggling.

Trying to master all these aspects of a writing career is chaotic. There are countless books and articles to read on various subjects of writing, publishing and marketing, experts to heed, social media platforms to navigate, people to connect to and opportunities to take advantage of. And often what happens is the writer is pulled into so many directions at once, no real headway is made on bigger goals. Instead writing time is spent on a million mini tasks that seem valid at the time, but may not be.

In 2012, Becca and I found our time was being eaten by all the little things that come with running a larger site like Writers Helping Writers. Our days were spent neck deep in email, social networking, blog comments, and guest posting. And guess what wasn’t getting done? Writing. And well, that’s sort of the point, wouldn’t you say?

We knew we needed to organize ourselves and prioritize better. We wanted a way to measure each opportunity that came our way and make better decisions with our time. Luckily, my husband is a business management consultant, and he led us through the process of creating a business plan. The start was to assess where we were at, and define where we still needed to grow.

Ask Yourself The Tough Questions

In the business world, assessments are common. People are brought in to examine departments and processes, do risk assessments, and conduct 360° reviews on employees. A company needs to be efficient and functional to prosper, and a writer’s career is no different. So take a step back and look at where you are at. What areas did you focus on this past year, and what was your progress toward big goals? If you could do it all over, would you do it the same way, or organize your time differently?

Taking stock of where you are, and where you want to go is a great way to hone in on what to focus on in the coming year. If you can be honest about areas you are weaker in and what you must strengthen to position yourself better, you’ll save yourself heartache. For example, if your writing is really strong, you have a book you feel is marketable but you have no online presence whatsoever, spending more energy honing your craft isn’t the best use of your time. Instead, you might want to make getting yourself online, learning how to network and find ways to build relationships with your potential audience a primary focus. Yes, this might seem scary, but pushing out of your comfort zone will help you grow.

Likewise, if you are a Social Media queen but your writing skills are less-than-adequate, start boning up on your writing craft. Read, take classes and practice technique. A great platform will not sell a poorly written book.

Be a Planner, Not a Pantser

Lots of writers like to “pants” it. A little, a lot, maybe the whole book is written on the fly, a joy ride from start to finish. What will the main character do? Where will he go? How will the book end? Who knows—that’s all part of the fun.

And pantsing might work great…in fiction. But in business, pantsing will hurt you, or perhaps better said, will hurt your potential. Because while you’re flying along, researching weather patterns for a new story idea you have here, increasing your twitter following there, and flirting with a group promotion or two when invites roll in…you are missing the forest for the trees. Rather than take confident strides toward achieving specific goals to help you leap forward, you’re taking half-steps in too many directions and hardly getting anywhere.

Like Becca and I did, you might need some structure. A road map, a way to determine what areas are the most important to work on, what goals should be the focus, and the timeline needed for each. You won’t believe how well this will help keep you on track, and just how much more you’ll get done in a year.

I realize for many, the words, “business plan” probably sounds intimidating, but it really is so simple—7 steps will get you there. In fact, I wrote a post about the process at Jane Friedman’s blog, so please, check it out. Everything you need is there—the steps, a template, and even an example of one of our old business plans. (Take advantage of some free professional business consulting!)

You love what you do, and you work hard every day, I know it. You are capable of so much, so challenge yourself! Make 2016 your year.

Happy writing and business-planning,

Angela

Image1: geralt @ Pixabay

Image2:McLac2000 @ Pixabay

Image3: JosephKah @pixabay

Image4: Alexas_fotos@pixabay

The post Is 2016 Your Year? Make A Writing Plan And Take Out The Guesswork appeared first on WRITERS HELPING WRITERS™.

Self-publishing has been such a fulfilling journey for Angela and me. I know it’s not for everyone, but it was definitely the right choice for us—though daunting, knowing that we were responsible for every decision and not having a clue in the beginning what those decisions even were. 

This is why I’m happy to have James A. Rose here today to talk about printing options. Through his experience in the self-publishing industry and his work with InstantPublisher.com, James knows a ton about the process of choosing a printer and turning a manuscript into a book. Below, he talks about many of the printing decisions authors will have to make if they decide to go the self-publishing route.

Courtesy: Pixabay

If you’re considering self-publishing your own book, one of your biggest decisions will revolve around printing options. There are many factors to be considered before your well-loved manuscript will be turned into a physical book. The purpose of this post is to shed some light on those decisions and make you aware of your options.

First, the two main printing technologies are offset and digital. Digital printing uses a digital image file as a source (as opposed to the rubber plates used in offset printing), making this option optimal for very short print runs and print-on-demand jobs. It has a higher cost per page but is more cost efficient for these smaller jobs due to the reduction in preparation time. This is mainly because the printing plates used in offset printing aren’t needed—plates that have to be changed out before every new print job. Most printing companies retain the necessary equipment for both printing methods and will use digital on lower volume print runs.

From a client’s perspective, there are some important distinctions between the two technologies. When it comes to choosing printing options, the volume-to-cost ratio will be the primary determining factor. If you will be purchasing a longer print run of over 100 copies, then an offset printer will likely be your most cost effective option. Offset printing offers additional benefits, including greater color accuracy and a wider array of sizes and paper type choices. Digital printing will be the more suitable choice if you do not need a lot of copies, the book will be a standard size, and it won’t contain any fancy graphics.

Once you decide which printing option to go with, there will be other decisions you’ll need to make. My guess is that most of the people reading this post will likely go with the offset option, so I’d like to spend the rest of my time focusing on that route and the decisions you’ll need to make along the way.

Manuscript Preparation

In regard to the size of your book, most printers offer several standard paper sizes. With offset printing, these options will be increased and will likely include very large books and landscape layouts. The typical book sizes are 4.25” x 7”, 5.5”x 8.5”, 6”x 9”, and 8.5” x 11”.

While you’ll be responsible for choosing the size of your book, the printer will have templates to which your completed manuscript must adhere. These templates will vary in dimensions based on the book’s size but will universally require the incorporation of margins and bleed areas. The most common margin sizes will be 0.75 inches on the sides and 0.7 inches on the top and bottom. The header and footer will both need to be set for 0.5 inches. You can help to streamline the publishing process by setting the correct perimeter dimensions in your chosen word processor.

The best way to determine what size your book should be is to go to a bookstore and browse similar books. Get a feel for the sizes and covers that are common in your genre. And don’t forget that if your book will be sold commercially, it will need a copyright page and an ISBN number before the printing process can begin.

Cover

Most authors lament that the cover design is the most difficult part of self-publishing a book. Fortunately, there are multiple options to aid in the process. First, determine if the cover will be black and white or in color. Then decide if you will be using stock images or a completely custom design. Most printers will have a wide array of stock images for you to choose from, but should you decide to go the custom route, you’ll need to keep some factors in mind.

It is common for printing companies to offer their own in-house custom design services. However, these services are usually quite expensive and you’ll be at the mercy of the staff designer. A better option is to outsource the design to a third party. The price will be lower and you’ll be able to screen artists before hiring one. Just provide the designer with the printer’s cover template specifications based on your chosen book size. The completed file for submittal to the printer should be “camera ready.” That simply means that the file is of print level quality at 300 DPI and will usually be a PDF or EPS file.

An additional cover option you may want to consider is coating. The cover can be coated in UV or plastic lamination; both are similar, but the lamination will offer more protection. Linen embossing and foil stamping may also be available.

Binding

The next consideration for your book will be the binding style. There are a number of different choices, and your printer can advise you on which style will be best for your project. But as the publisher, you’ll want to be educated about those options.

The standard binding is called perfect binding. This is the typical binding method for paperback books— a relatively cheap and simple process that is common with digital printing. Perfect binding uses durable glue but will eventually wear out from heavy use.

For larger paperback books, sewn perfect binding may be required for the added durability. This process utilizes glue and sewn thread. Hardback binding is the strongest form of binding and includes glue, a binder board, sewn thread, and plastic lamination. Saddle stitching will be used for very small books and pamphlets. This binding method uses staples to secure the spine.

Remember that there will be a minimum number of pages required before binding can be performed correctly. For a spine to be wide enough to be printed on, the book will usually require a minimum of 40 pages. Small books that utilize saddle stitching will generally need around 8 pages minimum. Oh, and don’t get pages and sheets of paper confused; each piece of paper equals two pages.

Policies

Additional services and policies offered by printing companies:

• Depending on the size and extra options used for your book, turnaround time could be anywhere from 7-20 business days. You may be able to request rush service—for an extra fee, of course.
• The more copies you order, the lower the price per copy will be. Most companies have a minimum order size, generally around 25 copies.
• A preview can usually be requested for an additional fee. An unbound proof copy of your book will be mailed to you. This is mainly so you can check the color quality.
• Other optional services include layout, typesetting, image scanning and placement, file conversion, and eBook formatting. Your printer may also be able to help you secure an ISBN number.

Typically, the most effective strategy for book printing—especially for authors on a budget—will involve a combination of techniques. You might want to start with just an eBook to allow it to gain some momentum so you can gauge the strength of your potential market. Submit your book to marketplaces that have print-on-demand capabilities so a physical copy of the book will be available if a customer wants one.

Order a short run print job from an offset printer of 100 – 200 copies, which won’t be price prohibitive or take up a lot of storage space. These books will be important to have on hand for promotional purposes, and because the books were printed offset, they will be of the highest quality. Should your book begin to take off, you can always order more copies.

There are two final pieces of advice to keep in mind when shopping for a printer. First, find a company that provides à la carte pricing. This way, you’ll have the flexibility of choosing only the options you need rather than being forced to select a package with unnecessary extras.

My last bit of advice is for you to pick up the phone and test any potential printer’s customer service. This book is your baby and should not be left in uncaring or incapable hands. Confirm whether the printer will be using digital or offset printing based on the size of your order. Ask questions to get the information you need. If the people handling your queries aren’t courteous, knowledgeable, and helpful, hang up and try someone else. There are plenty of printers out there; do your research, learn as much as you can about the process, and you’ll be able to move forward into the future armed with a great book and the best printer to bring it into the world.

James A. Rose is a writer for InstantPublisher.com, a self-publishing company that has been helping authors bring their visions to life for the past 15 years. James has worked in the publishing industry since 2010 and during that time he has seen pretty much every problem that authors encounter during the self-publishing process. It is James’ goal to utilize his experience at Instant Publisher to help budding authors avoid common mistakes and self-publish the best book possible. You can connect with him on Facebook and Twitter.

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Book marketing is tough, especially when it comes to self-publishing. The good news is there is no shortage of experts, books and websites out there to advise authors on how to market. The bad news is that while some offer content brimming with strong, helpful advice, others impart ‘wisdom’ that belongs in a primer on what NOT to do. It takes time and the willingness to work hard to sort good ideas from bad and come up with a plan that is best for you.

But here’s a cold, unpopular truth about book marketing: you can do everything experts say to do, and still feel you are not getting a good ROI (Return on Investment).

There are a number of reasons for this. Here are some of the biggies:

Unrealistic expectations.

It’s human nature to look around and compare one’s book to that of a similar one and weigh the success of each, but the reality is this is an unfair comparison. Every book is different, so how readers connect with the characters and story of each will also vary. And readers aside, each author will have a unique platform and marketing focus. So while outwardly two books rest in the same apple cart, they might not belong together, and authors should not expect them to perform the same.

(image: Geralt @ pixabay)

Industry and market shifts.

Not only do readers’ tastes change as trends reach a saturation point (people grow tired of reading about X so change to Y), so does the online retail market. Going exclusive with Amazon used to be a golden ticket, but now? Not so much. Same thing with the power of free. In the early days, free was the fast track to downloads, exposure and shooting up Amazon lists. But technology is fickle. Algorithms shift. Subscription services enter the picture. And BAM, just like that, the playing field changes…what used to work no longer does, or the value of marketing a certain way lessens. So depending on when you release a book and what is happening in the online marketplace at that time can affect your ability to reach those big sale goals.

(image: Roadrunner @ pixabay)

 Luck.

Anyone who says luck has had nothing to do with their success is either lying or naive. Luck is ALWAYS a factor – the right book, the right time, the author connecting with the right influencers to help boost their reach, and finally, being discovered by readers who will become super fans…this all requires an element of luck. Sometimes, people just can’t catch a break. But, that said, authors make their own luck by putting themselves out there. If you want to hear a knock at the door, you have to be close by.

Playing the game, but not getting why.

I know many writers who “do everything right” by pricing appropriately, paying for a professional cover, designing a website, blogging, getting on social media, running visibility events, book signings, speaking engagements…and they still don’t feel it’s working. A person can do every strategic thing right and still fail if they don’t understand and respect that their number one goal should be to connect genuinely with readers. Readers aren’t dollar signs, or Facebook likes, or book reviews…they’re people. It means treating them like people, caring about them like people, and enjoying that relationship without strings. It is about providing them with value when we can, and entertainment, a listening ear or whatever else is within our ability to give.

Being on social media is not the same as “getting” social media. Tweeting and blogging and posting to Facebook in ways that are strategic, not social, means one is not using the platform as it is meant to be used. And if you don’t come across as genuine and interested, if it feels like a job to tweet and share…people sense it. They will (maybe) friend you and (maybe) retweet because it is the polite thing to do, but the depth of the relationship will only ever go so far. They won’t really care about what’s happening with you. That level of connection won’t be there.

(image: Nominalize @ pixabay)

Marketing to the wrong audience, or focusing on only a niche.

If you are marketing your heart out trying to connect with people who love and need hammers by hanging out with golf enthusiasts, your efforts won’t yield much. Understanding who your exact audience is and what they need and want is key to improving your chances for success when it comes to finding readers. Think beyond genre. And in the same wheelhouse, if you are targeting the right audience, don’t focus on too small a group. A typical way authors do this is by concentrating marketing on other authors who write in the same genre. Yes, writers are readers, but at best, this is settling for a tiny slice of pie when the whole pie is available. At worst, you are damaging relationships with your fellow writers who may feel put off when you promote at them.

(image: openclips @ Pixabay)

A sub par book.

Simply stated, a lot of books are published that aren’t at the caliber they need to be to do well. Learning strong writing craft takes a lot of time and dedication. Some writers understand this and by applying savvy marketing to their quality book, they knock it out of the park. But with the ease of self-publishing comes a subset of writers who are hoping a quick upload to Amazon is their shortcut to success. Or they think quantity wins out over quality, and seek to get out as much product as possible to have a larger revenue funnel. But, if one is more focused on quantity than making each book better than the last, the saturated market offers a sobering reality: unless there is something special about a book, it generally doesn’t gain a foothold that lasts. There are just too many other good books to read.

 So, does this mean we should all give up? That the cards are stacked against us? Not at all!

I’m no expert and have plenty to still learn. But I’ve picked up a thing or two, so here’s a few sound bites:

1) Write a book so good it fills you with pride. Never stop learning your craft. Always strive to do better with each new book.

2) Be genuine. Talk to people, start conversations. Build relationships and be present. This takes time and energy, but it’s worth it.

3) Only do what feels right via social networks. If you hate twitter, don’t use it. Remember to be social. Provide value in some way and be part of the community.

(image: john hain @ pixabay)

4) Figure out who your audience is, and find them online. Don’t just focus on other writers…unless that is your exact audience.

5) Learn to love what you do…not just the writing part, but the connecting with people part. Yes, even you introverts! The more you do it, the easier it gets, I promise. And when you connect with people, you find friends, supporters, and influencers, making your own luck!

6) Understand your personal strengths and what you have to offer, then offer it the best you can. Are you funny? Let it out. Have a knack for finding interesting content your audience will like? Share it! Be yourself, and be awesome.

7) Talk to other people about marketing. Ask for help. Offer help in return. Collaborate. We’re all in this together.

8) Try new things, take risks. Look at other industries and how they connect with their audiences. Don’t fear mistakes because they are simply opportunities to learn. Not everything will work and that’s okay.

9) Make it about your audience, not you. Put yourself in their shoes…shoes that are probably overworked, stressed, underpaid and over-promoted to. Do they need more spaghetti promotion thrown at them? Probably not. So how can you use social media to make a positive difference in their day to day lives? How can you provide content that entertains, supports or adds value? How can you make them feel valued?

(image: PublicDomainPictures @ pixabay)

10) When you give freely, it comes back to you. As self-publishers we have many hats to wear, and only so much time, which is why some authors struggle with the idea of doing something so labor intensive as “building relationships.” But taking the time is well spent, because when you form real connections with people and care about then, they care about you in return, and about your books and your success. Many end up helping in little ways, including telling others about your books. Word of Mouth is the most valuable marketing currency there is.

 Have any tips to share? Please leave them in the comments.

The post A Book Marketing Truth Few Experts Will Admit appeared first on WRITERS HELPING WRITERS™.

I am ever so excited to hand the reins over to the fabulous Martina Boone, author of Compulsion, book 1 in the Heirs of Watson Island trilogy. There’s a few reasons for this. First, if you don’t know Martina, well, she’s brilliant. Not only is she an uber talented author with a head full of writerly advice which she dispenses at her blog, she is also a very compassionate and supportive friend who is always thinking about how to help other succeed. I love that.

Second, having her here gives me a chance to gush about her YA debut, Compulsion. You might remember how Becca recently blogged about her favorite reads of 2014. Well, GUESS what book tops my own 2014 list?  You bet your bananas it’s Martina’s Compulsion. There is SO MUCH I want to say about this book, but I really should zip it for now so Martina can give us a rare window into what happens between signing with an agent and holding the beloved book in your hands.

The Ten Editorial Steps From the Agent “Call” to Published Book

Like most writers, I’ve dreamed of “being a writer” most of my life, but it wasn’t until 2010 that I decided to throw everything I had at learning to write and getting an agent and getting published. At that point, I read all the books and blog posts that might help me get “there,” and I found so much material that a friend and I started AdventuresInYAPublishing.com to collate all that information and share it with other writers.

Once I signed with an agent, though, I felt like I’d suddenly plunged into an information void. Even with COMPULSION out in the world and PERSUASION well on its way, I still constantly feel like an idiot pestering busy people with questions, or keeping the questions to myself because I’m too embarrassed to ask them.

When we’re starting out as writers, we rarely look beyond the process of getting an agent. That hurdle on its own seems so huge, but truly, it’s just the beginning of the editorial journey our books will take. No, wait. Don’t groan. That’s a GOOD thing, because once your book is out in the world, readers and reviewers are going to pick apart every choice you made. They’ll love them or they’ll hate them, but in your mind, you’ll need to be able to defend those choices knowing exactly why you made them.

After the agent call, here are ten more editorial steps your book will take:

Revising with Your Agent: Even after you’ve polished your manuscript enough to snag an agent, that agent will probably do a round or two of revision with you before sending your book out to editors on submission.

On Sub: While you’re revising, your agent is making lists of editors and putting together a submission packet that will contain the pitch as well as any supporting information that will help “sell” your book to an editor and acquisition panel. The pitch has its genesis in your query letter, and you may find that big chunks of your query eventually end up on your book jacket. You and your agent will probably work on the pitch together before submitting to the editors most likely to love your book.

The Offer: Before you get an offer, your editor may speak to you and share any editorial vision he or she has for your book or query you about follow-on ideas. Both the dollar amount and the supporting information the editor provides will tell you whether they see the book as a mid-list or lead title and how important it will be for their “list.”

 The Editorial Letter: Usually even before your agent and the publisher’s legal department have finalized the contract and the check for the first third of your advance is in the mail, your editor is busy reading your book and preparing the overview what’s needed to bring it to full potential. An editorial letter can range from a couple pages to many pages addressing the manuscript’s strengths and areas for improvement. You may go through one or several rounds of developmental edits.

 The Line Edit: Once the structure is in place, your editor will go through the manuscript line by line, looking for ways to strengthen the writing, clarify meaning, make images more specific, eliminate cliches and writing ticks, eliminate wordiness, etc.

The Pass for Press: Your editor will review the line edits once you turn them in and she or he will “accept” the manuscript. That’s the trigger for releasing the second third of your advance payment. At this stage, if not before, the book goes to the production department, which schedules out the production process. The book designer starts developing how the interior pages will look, and the cover designer has probably already been working on the exterior jacket in the meantime.

The Copy Edit: The managing editor will turn the book over to a copyeditor. This may be someone in house, or an outside freelancer. It may occur in track changes in Word, or as physical marks on paper. The copyeditor will correct any grammar issues, check for continuity, clarity, and consistency, and pose any queries on facts, timeline, etc. for you in the margins. When you get the Copy Edited Manuscript (CEM) back to review, it’s usually due to your editor very quickly. As I’ve learned the hard way, you need to make sure that this isn’t the first time you see your manuscript printed out on paper, because it will read very differently than it does on your computer screen. CEMs are not the place to make a ton of changes, but they’re a better place to make changes than any point further in the process.

Galleys/ARCs: Once your manuscript is copyedited, it will be changed from an electronic Word file into a typeset file within the publisher’s design program, where it is printed out into page proofs for further editorial scrutiny and distribution to reviewers, booksellers, and power readers—people who can help spread the word about and build excitement for your book. Depending on the publisher and the timeline, you may get to review the proofs before Advance Reader Copies (ARCs) are printed and bound, or you may see the ARCs first and get a few copies for yourself at the same time that they are prepared to go out for review. Don’t fret either way, ARCs are expected to contain errors.

1st Pass Pages: When you get the proofs of the typeset pages, it’s your first chance to see what your book will really look like, how the fonts look, how the paragraphs flow on the page, and how the pages and chapters lay out. You’ll also review for remaining typos and any inadvertent errors introduced when the file and edits were keyed in. Making changes at this stage is expensive, especially if they change pagination. If you make too many changes, your publisher could charge you for the expense, so you’re looking only for things that *must* be changed or corrected.

2nd Pass Pages: Whatever changes were made in the first pass will be reflected in the second pass, but your publisher may not send 2nd PPs to you. At this stage, your job on the manuscript is essentially done, and it’s a surreal feeling to know that there’s nothing more that you can do.

At this point, all of you—your agent, editor, production team, art department, marketing, sales, and publicity team, everyone at your publisher—have done their best, and it’s time to to turn the book over to your readers.

Getting a book to print is truly a gargantuan effort, and it’s a leap of faith and love on everyone’s part. The process is not for the faint-hearted, and there are times when I wanted to crawl in a hole and weep with the pressure and the stress and the sense that I couldn’t possibly make the book good enough. The first letter I received from a reader reminded me of why we do this though—because it was a letter very much like one I would have liked to have written to my favorite author about a beloved book. And hearing that my characters, world, and words have meant that much to someone is an amazing and energizing feeling.

(We often think that hardest part is writing the book, but this post shows how much more still needs to be done after the yes. And then there’s marketing, promoting…as Martina says, not for the faint-hearted. But the product of ALL that hard work? Right here. Trust me, you NEED this book! ~ A)

Three plantations. Two gifts. One ancient curse.

All her life, Barrie Watson has been a virtual prisoner in the house where she lives with her shut-in mother. When her mother dies, Barrie promises to put some mileage on her stiletto heels. But she finds a new kind of prison at her aunt’s South Carolina plantation instead–a prison guarded by an ancient spirit who long ago cursed one of the three founding families of Watson Island and gave the others magical gifts that became compulsions.

Stuck with the ghosts of a generations-old feud and hunted by forces she cannot see, Barrie must find a way to break free of the family legacy. With the help of sun-kissed Eight Beaufort, who somehow seems to know what Barrie wants before she knows herself, the last Watson heir starts to unravel her family’s twisted secrets. What she finds is dangerous: a love she never expected, a river that turns to fire at midnight, a gorgeous cousin who isn’t what she seems, and very real enemies who want both Eight and Barrie dead.

IndieBound | Barnes & Noble | Amazon | Walmart | Target | Book Depository (free worldwide shipping)

The truth? I devoured this book. You ever wish a fictional world was a real place, and its characters living, breathing people that you could sit with and talk to? That’s the effect this book had on me. I loved Barrie and Eight, the push and pull of their personalities, and most of all, the love and loyalty they have for family. Watson Island felt as real and authentic to me as my own backyard. Reading this book was an experience in the truest sense. I loved discovering how magic compulsions, curses and feuds played out between the three families, and the secrets and danger that ties them all together.

A GIVEAWAY? HECK YES!

I feel utterly COMPELLED to make sure others experience this book, so Becca and I will be giving an ebook copy away to one commenter!

Please, do check this book out, and add it to your Goodreads list.  I can’t recommend it enough. You can find Martina all over the place, so reach out and say hello:

Martina’s Website | Blog | Tumblr | Facebook | Pinterest | Instagram | Twitter

Questions about the Publishing Journey? Fan of Compulsion like me? Tell us all about it in the comments!

The post 10 Editorial Steps From the Agent “Call” to Published Book appeared first on WRITERS HELPING WRITERS™.

There’s nothing quite like seeing a book with your name on it. The beautiful cover, the weight of it in your hands, the pages of your creativity bundled into a package for readers to enjoy. It sits o the shelf–maybe a physical one, perhaps a virtual one–but it is there, mingling with other books, rubbing spines with both fresh and established voices alike.

And there it will sit, waiting to be noticed..among not hundreds, not thousands, but a virtual tsunami of books that grows larger each day. Sure, family and friends will buy your book, and perhaps some of your supporters and connections online, too. But unless you do something, it will eventually fade into obscurity, never having the chance to break out and be discovered by the exact people looking to read a book just like yours.

The number one failing of authors (provided they have a well edited, quality book) is an inability to connect with their exact audience.

Traditionally published or self-published, in this competitive market, authors must actively find readers or risk their book dying on the shelf. Many fiction authors try hard, but often miss the mark as far as targeting an audience (promoting too narrowly for example, say only to other writers). Some unfortunately go the spam route, misusing social media to shout constantly about their book, sales, 5 star reviews and even sending “check out my book + LINK” messages to followers. This type of promo becomes “White Noise,” which most ignore. In some cases, people become so annoyed, rather than this strategy pulling new readers in, it pushes them away.

So How Does An Author Find Their Ideal Audience?

1) Know What Makes Your Book Special

While a book’s genre (and sub-genres) help to narrow reader interest, this is only the start of your journey to finding your ideal audience. A Fantasy enthusiast will not be interested in reading ALL types of Fantasy, right? So the first step is defining what about your book makes it stand out from all the other novels like yours. Move beyond just genre. What themes or elements are unique about your book? What are the strongest qualities about your hero or heroine that make them likeable? What concept makes your book pop?

Is your fantasy about a race of nomadic humans who are really shape shifting dragons, but over the generations, have forgotten what they are? Or, does your book have a hero who must solve codes and cyphers to uncover an astrological prophesy? Maybe it involves unusual magical travel…wizards that have discovered they can bottle the scents associated with a location and when a subject inhales it, he travels to that place. Whatever it is, this “special element” is a big part of what makes your book unique, and what will draw readers to your type of story and characters.

2) Make a List of Groups that Tie into this Element

Figured out what makes your book stand out from all the others like it? Awesome. Now it’s time to find out what interests people who think X is compelling, because that’s what’s special about your book.

Let’s take one of my examples. Say your book is the Dragon Fantasy concept above. A book featuring dragons may appeal to people who collect dragon figurines, read dragon-centric books, play dragon fantasy games, create dragon artwork, fashion dragon jewellery, blog about dragons, go to dragon-themed movies, visit forums that discuss dragon culture, etc. Google has 38 pages for “dragon lovers.” In less than a minute, I found a Dragon Museum, Dragon Decor Designs and a ton of forums, facebook groups, and the like.  Using Twitter Search, I discovered there is a #Dragon hashtag that brings up people, products and discussions about dragons. All of these people have the potential to be your exact reading audience, especially those who wish dragons were real, but are hiding their true forms. Or Fantasy readers interested in shape shifters and nomadic cultures.

(Don’t forget to look around locally, too. There may be groups, events and activities that tie into your book’s special concept in your own backyard.)

3) Identify Possible Influencers and Opportunities

Now within this glorious pool of Dragondom, there will be influencers: people who blog about all things dragons that really draw an audience, or active forums that discuss the latest dragon films and books. Perhaps gaming communities or even Facebook or Goodreads groups that draw a crowd. All of these help dragon enthusiasts discuss the thing they all love.

Check some of these places out to see if they might be a home for you too. After all, if what makes your book special is the shape-shifting dragon element, I’m going to assume you have a strong interest in dragons, right? Surely you have some things to talk about, links to share, books to recommend, etc. We write what we love, and so we should love to talk about what we write.

You want to find several groups or blogs that offer content to their readers that would also appeal to your readers. See who is discussing dragons on the web. Is there a Twitter Chat about dragons? Also look for people who create tangible goods for dragon lovers (artists, designers, etc.)  These are people you want to try and connect with, because opportunities might exist down the road for some cross promotion. Don’t forget other authors with books like yours. Make friends, tweet links to their blog and book. They will notice and most reciprocate, meaning your book might get noticed by their audience.

4) Connect and Engage

Hurray! We have found a slew of blogs, websites, forums and people who are into dragons! Time to join up, follow and send messages about our book, right?

Sorry, that’s not how it works.

Finding out who your audience might be is one thing, but actually (hopefully) turning them into your audience is another. To do that, you need to connect. Interact. Join conversations going on about dragons. Discuss your own collection, the books you read, the movies you watch. Talk to people, find out more about them. Talk about life. Ask questions. Be genuine. Add to the conversation, supply links to things you think others will find interesting about dragons. Build relationships.

Yes, this takes time. It’s work, but if your heart is into it, it’s fun too. In time you will see that these relationships are worth far more than a handful of sales generated from  spam promo. Why? Because when you need help, you can ask. Maybe you need reviewers, or have a book launch coming up and need people to spread the word. These individuals who you have invested your time in will often be the most enthusiastic about helping you gain visibility. They become not just supporters, but if we are lucky, fans.

5) Create Book Events to Draw in Your Reading Audience

One of the best ways to gain visibility is to host a big book event online. Thinking very hard about who your exact audience is, and what they would find interesting or entertaining is the key to drawing the right crowd to your event. Online book events like a book launch are the one time when people expect us to shout about our new book from the rooftops. We can build buzz and flash our cover and blurbs, and draw interest. Events are excellent ways to get your book noticed by the right people!

But the trick is to create an event that utilizes Social Media well, and draws the attention of the right people: people most suited to enjoy our book. Unfortunately this has been made harder because of all the “White Noise” of online promotion out there. So, the task is up to us to WOW people enough that they take notice, and don’t dismiss the event as more “book promotion.”

When you create your event, keep your theme or special element in mind. Build around it. Could you do a dragon treasure hunt across many different blogs using street team members? Perhaps add a shape shifting element where participants follow clues to figure out which street team member is human and which is a dragon, so they can find the hoard (giveaway prize) on someone’s blog?  Something else? You decide!

I hope these tips help!

  *  *   * * *   *  *

HEADS UP! If you are interested in learning how to promote better during these big Book Launch or Book Sale type events, Becca and I are running a special marketing webinar on October 13th at 8:00-9:30 EST called The Marketing Marriage: Creative Social Media Solutions to Help Your Book Event Get Noticed.

Becca and I have run many successful events that have generated thousands of visitors, huge visibility and strong sales. In this webinar we will show you how to create your own book event that attracts attention, engages your audience, and rises it above Promo White Noise. It’s not just about getting eyes on your book, it’s about the RIGHT eyes.

Can’t make the webinar date? No worries! Sign up and get the recording to watch at your leisure. Follow this link for more information.

How have you found your readers? Any tips to share? Post them below!

Image 1: OpenClips @ Pixabay

The post 5 Steps To Find Your Book’s Ideal Audience appeared first on WRITERS HELPING WRITERS.