Getting Ready to Celebrate the Release of My New Book--and Your Next New Book

Carolyn Series Page for her multi award-winning 
HowToGetItFrugally Series o Books for Writers

Getting Ready to Celebrate the 

Release of My NewBook--and Yours

 By Carolyn Howard-Johnson

Excerpt from the soon-to-be released 

How To Get Great Book Reviews Frugally and Ethically, second edition

It seems that doing final edits for a book is a great time for identifying sections in it that might be useful right now and give the readers of Karen Cioffi’s #WritersontheMove blog a head start on releasing books this fall. This section from the second edition of the third full sized book in my HowToGetGreatBookReviewsFrugallyandEthically, is after all about preplanning.  This section from Chapter Thirteen from that soon-to-be released book works because--odiously--pre-planning is a good thing can never really start too early--and the essentials can always be used in a next book, and the next. But it’s never more important than at release time; that’s when we as authors (no matter how or who publishes our books) can do something most authors forget to do  to jump start their book sales. That’s a shame because that what primes is for a chance and some very good stuff--like a chance  at  best-seller stardom! Consider this little piece your “how-to” as well as your inspiration to get started. And please put my Amazon Series page address on your calendar to check out for late fall release. The full series can be found on my Amazon Series page for the now long-lived series of books, HowToDoItFrugally Series for Writers. 

Navigating Pre-Publish Opps and Deadlines

“Writing a book is a little like having a baby. If we authors weren’t optimists, we’d probably never tackle writing a whole book. If we were realists about the time it takes to raise it properly after we’ve typed ‘The End,’ we might stop right there.” ~ CHJ

First-time authors are almost always completely unaware of the secret behind those vital promotion processes  and/or underestimate the importance of the time gap between the time our books or ARCs come rolling off a printing press and appear for sale in bookstores. They have no clue that big publishers actually set their release dates (the date bookstores are given the greenlight to deliver books into the hands of readers) well beyond the time the book comes rolling off their presses.

They do this to accommodate an extended premarketing campaign and to take care of necessary marketing including getting reviews. If authors do know about it, they feel it is somehow dishonest to follow publishers’ universal practices. The supermedia has done us a big favor by demanding those deadlines, and the New York Big Five—our models—have done it for probably more than a century. They aren’t fudging. It’s the way it’s done. The essential time gap before their books are released might look something like this:

 

Example: Your print date may be 04/01 and your release date set for 08/01 or beyond.

 

Gasp! The thing is, we already have too much love put into the project to give up, too much invested not to pay attention to this example set by publishers. The other thing is, we have choices, and what seems like it’s going to be hard can be managed with preplanning. The great news is you already have a head start with that master-list of yours. Though it is a never-ending project it’s ready to use just as it is. Even if we should decide against participating in the supermedia regimen—or learned about it too late—authors need time to do any or all the pre-release essentials.

The traditionally published must know their publisher’s marketing plans in enough detail to support their efforts. We all must resist getting so eager for the release of our book we forego the time between knowing our books are ready and releasing them to the public. We want, need, desire the thrill of being a “published author” whether it’s our first or our tenth. That’s what we came for. But if we don’t wait (and work our fannies off in the meantime!) many of the thrills that go with that achievement won’t materialize. No matter how carefully your book has been crafted, pre-release neglect severely limits a book’s future sales. A few get lucky in spite of it; most don’t. First off, once you get an ARC into a reviewer’s hands reviews aren’t done, done, done. Post this list on your bulletin board: 

§ Review Chapter Eleven, “Getting Your ARCs Ready for Anything,” and remind yourself you will be using them for life of your book. Reviews are forever.

§ Review Section III: “Your Review-Getting Arsenal”

§ Do a search on “blurbs” and “Editing (blurbs)” so your file of blurbs is set up to save you time in your ongoing marketing plan. You are building a career, not selling a book.

§ Check Chapter Four , “”You Blurbs and Getting Past Book Bigotry.” Even if you have the best publisher ever!

§ Reread this Chapter (Thirteen), too. Of course.

§ And keep reading for Amazon essentials in the next chapter. They’re a big part of must-dos before that release date.

Much of your review-getting and turning-reviews-into-blurbs business must happen after you have reviews and before your precious book comes rolling off the press—whatever kind of press you or your publisher uses. Don’t miss any that have appeared on the pages of journals trusted by publishing influentials and in your e-mail from readers.

As described in Chapters Ten and Eleven on ARCS, many of those big publishers use print-on-demand (POD) technology to produce review copies well before the first copies of their offset run come off the press. (It seems POD is an innovation that is too useful for anyone in the publishing industry to ignore!), but both you and they may choose other ARC iterations, too. Here’s the thing: No matter what they do, that time before your book’s release—way before—is time you must navigate. This is not a time to mourn what could have been. Take a sabbatical from anything that might interfere. Enlist help from friends. Sculpt that time using what you knew before and what you know now to realize that goal most of us wish for—surreptitiously or right out loud—to meet our hopes and expectation for our book.

MORE ABOUT THE #WRITERSONTHEMOVE CONTRIBUTOR 

Carolyn Howard-Johnson is the author of the multi award-winning series of HowToDoItFrugally books for writers including the flagship book of that series, USA Book News’ winner, The Frugal Book Promoter  now in its third edition. It was originally written for UCLA Extension's renowned Writers Program where she used it as a text for nearly a decade. She believes using the time before a book’s release is the most productive time for assuring its future. Two of her favorite awards are Woman of the Year in Arts and Entertainment given by members of the California Legislature and “Women Who Make Life Happen,” given by the Pasadena Weekly newspaper. She is also an award-winning poet and novelist and she loves passing along the tricks of the trade she learned from marketing those so-called hard-to-promote genres. Learn more on her website at https://HowToDoItFrugally.com. Let Amazon notify you when she publishes new books (or new editions!) by following her Amazon profile page: https://bit.ly/CarolynsAmznProfile. Her The Frugal Editor is now in its third edition from Modern History Press. Let it help you edit your work-in-process. The third book in the series, How to Get Great Book Reviews Frugally and Ethically will be released this fall.

Are You Ever Too Old to Become a Writer?

 

Contributed by Karen Cioffi, Children's Writer

I jumped into a writing career in my mid-40s. I was an assistant controller for a manufacturing company before that.

With my accounting background, writing about business and marketing was a natural fit… or so it seemed at the time.

My first gig as a freelance writer was for a company that offered human resources solutions. They had two related (sister) sites; I wrote articles for one site and rewrote them for the other.

Rewriting can be fun but also challenging, as it’s crucial to have the new content pass a duplicate content checker.  

The reason for this is Google doesn’t like duplicate content on your website or your related sites.

Heath writing was soon added to the mix, which was more lucrative than the business and marketing writing.

I supplied an allergy site with about 100 articles per month. I had to hire subcontractors to help with this project.

I also did academic rewriting and editing for health professionals.

Then I decided to add on writing for children.

It seemed like a natural addition as I had written a bedtime lullaby when my first daughter was a baby – to help her fall asleep. I turned it into a children’s bedtime picture book in 2008.

Soon, though, I was stretching myself too thin as you can imagine. That’s never a good thing for a number of reasons.

-You can’t devote the time and focus needed to a particular genre.
-You don’t have a strong platform or brand.
-And, you know the saying: Jack of all trades, master of none. This is definitely not a good thing. It should always be quality over quantity.

I had to decide what genre I would focus on.

Focus is essential to success.

As the children’s writing really took off and grew each year, and I love to bring children on journeys, that’s the genre I chose.

And that’s how my children’s writing career got started.

Another example of never being too old to follow your dreams is a client I worked with a couple of years ago.

I got a query from a woman who had a children’s picture book published by Houghton Mifflin in 1988.

She had a 25,000-word middle-grade story she had been submitting to agents but wasn’t getting any interest. She asked if I’d review it. After a few emails, I learned she was 92 years old!

Ninety-two! And she was following her dream!

She inspired me.

Working and raising seven children on her own during most of their growing-up years didn’t leave room for writing, especially as she had to work. Once she was able, she got back to it, though. She wanted to publish more stories.

After consulting with this client, she turned her middle grade into a chapter book, and I edited it for her. She then self-published. I went on to review and edit several shorter stories for her.

And there are lots of other late bloomers.

The very successful authors listed below also started their writing careers later in life:

Toni Morrison - Age 40
Mark Twain - Age 41
J.R.R. Tolkien - Age 45
Raymond Chandler - Age 51
Annie Proulx - Age 57
Laura Ingalls Wilder - Age 65
Frank McCourt - Age 66 (1)

So, if you’re wondering if it’s too late to start writing, IT’S NOT.

One of my favorite sayings is: Nothing ventured, nothing gained.

If you have the desire to write for children, but haven’t gotten started yet, GET STARTED TODAY!

This article was first published at: https://karencioffiwritingforchildren.com/2022/01/16/you-are-never-too-old-to-be-a-writer/

ABOUT THE AUTHOR

 

Karen Cioffi is an award-winning children’s author, ghostwriter, rewriter, and coach. If you need help with your story, visit Writing for Children with Karen Cioffi.

Karen also offers authors:

HOW TO WRITE A CHILDREN'S FICTION BOOK
A DIY book to help you write your own children’s book.

WRITERS ON THE MOVE SELF-PUBLISHING HELP
Self-publishing help for children’s authors.

The Role of a Sidekick in your Story

Best friends Abi and Jess help each other
discover a ghost in Secret of the Mist:
an Abi Wunder Mystery
Illustration by Danika Corrall

By Linda Wilson    @LinWilsonauthor

The sidekick in your story can be more than a loyal companion for your main character, MC; more than a conduit for dialogue. Think of what some of our most beloved sidekicks have added to their stories: 

• Piglet from Winnie-the-Pooh: constantly questioning the world, and himself.
• Huckleberry Finn: Tom Sawyer’s loyal friend in The Adventures of Tom Sawyer. In The Adventures of Huckleberry Finn, the roles are reversed.
• Tinkerbell: devoted to Peter Pan, in JM Barrie's classic story, Peter Pan, but who is also a hero herself.

What is a Sidekick’s Function?

• Narrator: A sidekick can fill in parts of the story that need to be told.
• Lovability factor: A sidekick can show a certain fondness for the main character, which readers find irresistible.  
• Sheds light on the main character’s idiosyncrasies: while grounding readers in more of a balanced personality.
• Offers a varied point of view
• Helps the main character grow, while growing herself.

The articles listed below helped me expand Jess’s role as Abi’s sidekick, who is also Abi’s best friend, in my Abi Wunder mystery series. In book 1, Secret in the Stars, Jess becomes Abi’s loyal friend and companion. Her role in that book was also to point out Abi’s strengths and weaknesses, as Abi embarked on her quest. In book 2, Secret in the Mist, Jess plays a more prominent role.

Sidekicks can:

• Have a strong personality in their own right, while still complimenting the MC.
• Have her own strengths.
• Make an impact equal to that of the MC’s.
• Have her own special moment to shine. In Mist, Jess challenges Abi to break out of her comfort zone, use the knowledge she has gained from horseback riding lessons, and race her horse across a field, galloping part way. Abi never would have tried that without Jess's encouragement.
• Be in the spotlight by taking command of the situation at times, rather than simply following the MC’s lead.

On a personal note, there are no sidekicks in three of my picture books, which star Thistletoe, in A Packrat's Holiday: Thistletoe's Gift, Waddles, in Waddles the Duck: Hey, Wait for Me, and Ashley, in Tall Boots. Though Kaylee, one of the sisters in Cradle in the Wild, is older, she and her sister, Madison, have virtually equal roles in the story. Normally, there is only one main character in a picture book. But  in Cradle, the two sisters work beautifully together.

Although it was fun creating the “stars” as MCs in my books, I think I’ve enjoyed adding sidekicks even more. They help my readers as well as myself take a closer look at the MCs. 

Antagonists can have sidekicks, too. According to Victoria Grossack, in her article "Crafting Fabulous Fiction: A Study in Sidekicks," "the hobbits Merry and Pippin, when separated from Frodo and Sam, still have each other for a good portion of The Lord of the Rings trilogy. This makes the conversation much better!"

In Mist, an editor suggested I leave a sidekick for the antagonist out of the story. That made two sidekicks in the story! Her suggestion was that “(the antagonist's sidekick) doesn't really add much to the story.” I considered her suggestion, but have decided to keep my antagonist’s sidekick in. I think she adds humor, revealing dialogue regarding the main antagonist, and also a certain kind of enthusiasm that the other characters don’t possess. This second sidekick, who I think readers will enjoy, stays in! 

Sources

https://www.johnhearneauthor.com/post/who-are-the-best-sidekicks-in-children-s-fiction 

https://www.writing-world.com/victoria/crafting06.shtml 

https://slayground.livejournal.com/129939.html -- offers a list of well-known sidekicks in children's literature

Illustration: By Danika Corrall. Danika, who also designed my website, which is beautiful, can be reached at hello@danikacorrall.com. 

The holidays are approaching,
a good time to sell books at
holiday fairs!

Linda Wilson is the author of the Abi Wunder Mystery series and other books for children. Her two new releases are Waddles the Duck: Hey, Wait for Me! (2022) and Cradle in the Wild: A Book for Nature Lovers Everywhere (2023). You’ll find Linda on her Amazon author page, on her website at LindaWilsonAuthor.com, and on Facebook.

Understanding Primary and Secondary Sources: A Writer's Guide to Mastering the Research Process

 by Suzanne Lieurance

When you're crafting a piece of writing—be it fiction, non-fiction, or anything in between—understanding the difference between primary and secondary sources is crucial. 

 

Not only will it enhance the credibility of your work, but it will also deepen your understanding of the subject matter, allowing you to write with authority and confidence. 

 

Let’s dive into what these sources are, why they matter, and how you can find them.

 

What Are Primary and Secondary Sources?

 

Primary sources are the raw materials of history—original documents, objects, or artifacts created during the time under study. 

 

Think of them as the closest you can get to the original event, idea, or piece of art you're researching. 

 

These sources haven’t been filtered through interpretation or analysis, which makes them invaluable for getting an authentic glimpse into the past.

 

Examples of primary sources include:

 

- Diaries, letters, or personal journals

- Photographs, videos, or recordings

- Official documents like birth certificates, patents, or treaties

- Original manuscripts, drafts, or works of art

- Firsthand accounts, interviews, or speeches

 

Secondary sources, on the other hand, are interpretations, analyses, or summaries of primary sources. 

 

These are usually created by someone who wasn’t directly involved in the event or topic at hand but has studied it extensively. 

 

Secondary sources help us understand and contextualize primary sources, providing a broader perspective.

 

Examples of secondary sources include:

 

- Books or articles that analyze or interpret historical events

- Biographies

- Reviews and critical essays

- Documentaries

- Academic papers or theses

 

Why These Sources Matter to Writers

 

Whether you’re writing historical fiction, crafting an essay, or working on a novel, using primary and secondary sources can bring depth and authenticity to your work. 

 

Primary sources give you a direct window into the world you're writing about, allowing you to capture the details and nuances that make your writing come alive. 

 

Secondary sources, meanwhile, help you understand the broader context, so you can weave in layers of meaning and insight.

 

Imagine you're writing a novel set in World War II. 

A primary source might be a soldier's diary from the front lines, giving you raw, unfiltered emotion and perspective. 

 

A secondary source could be a historian’s book on the strategies used in key battles, helping you frame your narrative within the larger context of the war. 

 

By blending both types of sources, you create a story that’s not only vivid but also grounded in reality.

 

Tips for Finding Primary Sources

 

#1. Visit Archives and Libraries.

 

Many primary sources are stored in archives, museums, or special collections at libraries. 

 

Universities often have extensive archives, and don’t forget local historical societies—they can be treasure troves of firsthand accounts and original documents.

 

#2. Explore Digital Collections.

 

The Internet is a goldmine of digitized primary sources. 

 

Websites like the Library of Congress, Google Books, and the National Archives offer access to thousands of documents, photos, and recordings. 

 

For international sources, try sites like Europeana or the British Library’s digital archives.

 

#3. Conduct Interviews.

 

If your topic is recent or ongoing, interviewing people with firsthand experience can provide invaluable primary material. 

 

Prepare thoughtful questions and listen carefully—sometimes the smallest details can spark the most compelling ideas.

 

#4. Use Social Media Wisely.

 

Platforms like Twitter, Instagram, and YouTube can serve as modern primary sources. 

 

Posts, tweets, and videos from individuals directly involved in events can give you a real-time glimpse into their thoughts and experiences.

 

Tips for Finding Secondary Sources

 

#1. Search Academic Databases.

 

If you’re looking for scholarly analysis, academic databases like JSTOR, Google Scholar, or PubMed are your best friends. 

 

These platforms house thousands of articles, papers, and books on virtually any topic.

 

#2. Read Critically Acclaimed Books.

 

Books written by experts in the field often serve as comprehensive secondary sources. 

 

Look for works that have been reviewed by credible sources or published by reputable academic presses.

 

#3. Read Literature Reviews.

 

A literature review summarizes existing research on a topic, making it a great starting point for finding relevant secondary sources. 

 

These reviews often cite key studies and books, pointing you directly to valuable resources.

 

#4. Watch Documentaries.

 

Documentaries can be excellent secondary sources, especially those that provide analysis and context on historical events. 

 

Pay attention to the sources they reference—they can lead you to both primary and secondary materials.

 

Bringing It All Together

 

By skillfully combining primary and secondary sources, you not only enrich your writing but also ensure that it stands up to scrutiny. 

 

Remember, primary sources bring you close to the original event or idea, giving your work authenticity and immediacy. 

 

Secondary sources provide the context and analysis that help you see the bigger picture.

 

As writers, our job is to tell stories that resonate, whether they’re based on facts or fiction. 

 

Using a mix of primary and secondary sources in your research is like having a conversation between the past and present, creating a narrative that’s both engaging and grounded in truth.

 

So next time you sit down to write, don’t just Google your way through research. 

 

Dig deeper, explore those archives, and see what stories the sources have to tell. 

 

Your readers—and your writing—will thank you for it.

And now, for more writing tips and resources, get your free subscription to The Morning Nudge. 

Suzanne Lieurance is an award-winning author with over 40 published books and a Law of Attraction coach for writers. Visit her website for writers at writebythesea.com.

 

 

 

 

 

 

 

 

 

 

 

 

Book Marketing: Get Out of Your Own Way

 

Contributed by Margot Conor

Most of the writers I know have absolutely no interest in marketing their books. When they are finally persuaded that they must do it, they are at a loss where to begin. Worst still are those, like me, who are introverted and find it nearly impossible to toot their own horn.

I suggest we all need to get out of our own way… push past that block… and take control of the task by whatever means we are able! But do not shirk this responsibility. It is a necessary part of being an author. Writing is a business, and your book is your product.

I found my answer to this problem through unconventional means. Method acting involves deeply immersing oneself into a character, embodying their thoughts, emotions, and behaviors to deliver an authentic performance. Similarly, as an author I wear many hats and one of them requires that I fully embrace the fact that I know my book best, and I have to be the one to sell it.

To do this I take on a new persona and become a promoter for Margot Conor. I think of this promoter as her assistant, effectively becoming her sales and marketing representative. I don’t have a knack for sales or an outgoing personality, but she does. She is confident and eager to share what is exceptional and wonderful about Margot Conor’s books.

Method Acting won’t be the answer to every author’s shyness about marketing, but there are ways that authors can promote their work that will embrace their natural talents. I think you will find this way of engaging with your audience feels less like marketing and more like making new friends who share your interests. Here are a few ideas you might try.

Character-Driven Promotions

Just as method actors bring characters to life, authors can use their book’s characters to drive promotions. This might involve creating social media profiles for characters, writing blog posts from a character’s perspective, or hosting live readings in character. Character-driven promotions can make the book feel more real and relatable to potential readers.

A Deeper Look into Needs & Preferences

It has been a point of interest for me that many authors assume they know what their readers want. When asked why they think so, they may say they read in the genre and know what is popular. That is important, and it will give insights into trends.

But to really understand your ideal reader you may need to get more personal and address their questions and concerns. Don’t be afraid to ask.

Create social media posts with a question on them. Or create a questionnaire. Ask whatever you’re inspired to learn about your followers. One idea is to ask what their all-time favorite books are, and what has remained dear to them or left a lasting impression long after they put the book down. Do a deep dive into their interests and preferences. (Genre or Book related). Then tailor your marketing strategies with what you learn in mind. Understanding your readers helps you to better meet their expectations.

Inquisitive Engagement as a Call to Action

Actors often ask themselves questions about their character’s motivations and backstory. As a marketer, you can use inquisitive engagement as a call to action. Asking questions in social media posts, blog entries, or newsletters can prompt readers to engage with the content more deeply.

For example, an author might ask readers what they think will happen next in the story they are writing, or how they relate to a particular character or theme. This encourages interaction and keeps readers invested in the book.

Unconventional Strategies

If you are still uncertain about how to market your book, here are a few more unconventional ways to connect with your audience or find your ideal reader…

1. Collaborate with Influencers and Bloggers

Target Niche Influencers: Identify influencers or bloggers who cater to your book's genre or target audience. A personal approach requesting a review or a feature can lead to new readers discovering your book.

Guest Blogging: Write guest posts for popular blogs within your niche. Share insights related to your book's themes or your writing process, subtly promoting your book in the bio or content.

2. Host Interactive Online Events

Virtual Book Launch Parties: Use platforms like Zoom or Facebook Live to host a virtual book launch. Include readings, Q&A sessions, and giveaways to engage your audience.

Webinars and Workshops: Conduct webinars or workshops related to your book's topic or genre. For example, if your book is about writing techniques, host a workshop on character development.

3. Leverage Social Media Creatively

Storytelling on Social Media: Use Instagram Stories, Twitter threads, or Facebook posts to share snippets from your book, character backstories, or writing tips.

Themed Hashtags: Create and use a unique hashtag related to your book. Encourage your readers to use it when sharing their thoughts or photos related to your book.

4. Engage with Local Communities

Local Libraries and Bookstores: Partner with local libraries and independent bookstores for book signings, readings, or discussions. These venues often have dedicated audiences interested in supporting local authors.

Community Groups and Clubs: Join or create book clubs, writing groups, or community forums. These smaller, engaged audiences can become loyal readers and advocates for your book.

5. Utilize Online Forums and Niche Communities

Reddit: Participate in subreddits related to your book’s genre. Share your book, but also engage in discussions to build rapport with the community.

Goodreads Groups: Join Goodreads groups that align with your book’s genre. Actively participate in discussions and subtly promote your book when relevant.

6. Create Multimedia Content

Podcasts: Start a podcast related to your book’s themes or be a guest on existing podcasts. This can introduce your book to new listeners.

YouTube Channel: Create a YouTube channel where you discuss your writing process, share book readings, or offer writing tips. Visual and audio content can attract a different audience than traditional marketing.

7. Interactive Content and Games

Quizzes and Polls: Create engaging quizzes or polls related to your book’s content. For example, a quiz determining “Which Character from [Your Book] Are You?” can be fun and shareable.

Book Trailers: Produce a short, captivating trailer for your book. Share it on social media and your website to attract visual learners and movie enthusiasts.

8. Connect with Book Clubs and Reading Groups

Book Club Outreach: Reach out to book clubs and offer to join their meetings virtually to discuss your book. Providing discussion questions can also be a valuable addition.

Reading Challenges: Encourage readers to participate in reading challenges that include your book. This can be done through social media campaigns or partnerships with reading websites.

Just using some of these strategies will help you get out of your own book marketing way!

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. She's preparing to debut her first novel, which means learning how to promote it. The last year has been spent attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader.
Learn more about Margot at https://margotconor.com/

Where Is The Easy Part of Publishing?

By Terry Whalin (@terrywhalin)

Like an imaginary airline named “EasyJet,” I meet many authors who are looking for the easy aspects of publishing. I’m going to give you the truth upfront: it doesn’t exist. After being in this business for years, each aspect of this work contains aspects where your book can crash and not succeed. The unfortunate fact is many of these details are outside of anything the author can control. But don’t worry. In this article, I’m going to give you some insights and resources for your publishing journey--in particular follow my links in my bio at the end.

In the last ten years, the publishing world has changed. In the past, self-publishing was the poor stepsister to traditional publishing. These self-made titles often looked poor and were not accepted in libraries or bookstores. As book production has improved, this attitude is shifting. There are still poorly made self-published books and the average self-published title sells less than 200 copies during the lifetime of the book.

My bent in this area is to get the largest distribution and produce the best book you can produce. It’s why I continue to encourage authors to create a book proposal and work with traditional publishers as well as explore other models like Morgan James Publishing (where I’ve worked for over ten years).

While there are many ways and companies to help you create your book, at the end of the day, the key question relates to sales of that book. Is it selling? Are people buying it on a consistent basis? Are you as the author promoting your book consistently? One of the best ways to learn about publishing is to consistently read how-to books about writing or marketing. As you read these books and take action from the information, you will grow as a writer. I’ve got stacks of these types of books that I read.

Books that last and continue to sell in the market are rare. Traditional publishers are known to be fickle in this area. I have seen it when I’ve worked inside publishing houses (not Morgan James). You work hard to get a book published and into the market, then for whatever reason it does not sell, then a publishing executive writes a letter to the author or literary agent and takes the book out of print.

New Books Need Reviews

Several weeks ago, I was skimming on Facebook and noticed one of my author friends was talking about a new book. I wrote this friend and offered to review her book. She was going to ask her publisher to send me a book. I promptly pressed on to something else and almost forgot about it. Then the review copy arrived this week. I’m eager to write a few words of review to help my friend.

The publisher launched this book on March 1st. As a part of my process of getting ready to review this book, I checked the book page on Amazon. Nine days after the launch, it looked like my review was going to be the first one. There were no reviews for this book. Reviews are important to every author because they are social proof that readers love your book. It’s why I work as an author to ask others to review my book and also review books for others on Amazon and Goodreads.

I emailed my author friend about her lack of reviews. Now this author has sold thousands of copies of some of her other books. She has a full-time job—not as an author. Despite her years in publishing, I found her response interesting. Her email blamed the lack of effort on the marketing department of her publisher.

One of the best ways for you to take responsibility is to create your own marketing plans. Whether you self-publish or have a traditional publisher to get your book into the bookstore, these plans are important. Whether your book is launching soon or has been out for a while, you need to be creating and executing your own marketing plans.

A marketing plan from the author is a key element in every book proposal. The proposal is your business plan. If you have such a plan, are you taking action to execute it? Does your plan need adjustment and updating?

It Takes Author Activity to Sell Books

Before I began working inside a book publishing house, I had written more than 50 nonfiction books, ranging from children to adult books. I have only self-published one book  and in general worked through traditional publishers.

However, I was unaware of the financial production numbers for nonfiction books and I found it shocking—and something critical for potential authors to understand. The author never sees these figures for their books as the publisher doesn’t reveal them throughout the contract negotiation process. A publisher will produce these financial calculations as simply a part of good business practices. As an author, understanding these numbers helped me see publishing as a business. Authors have huge amounts of time and emotional investment in their words. When I saw these production numbers, I understood that the publisher, not the author, has the largest out-of-pocket cash investment in a book.

Inside the publisher, the editor will gather a sales projection about how many copies the sales department believes they can sell of your title the first year. That sales figure will be used to calculate the production costs of ink, paper and binding for various amounts of printing (5,000, 10,000 or 15,000 copies). As the initial print number is raised, the cost per book decreases.

You may ask, “So why not print a large volume each time?” The answer is, if the publisher prints a large number of copies, then he has to store those copies in their warehouse (read cost and expense), plus make sure they actually sell those copies within a year’s time frame. The cost of tying up financial resources in storing and warehousing books that aren’t selling is large. Also the federal government taxes publishers on each copy in storage. These tax rules have forced publishers to think long and hard about how many copies of each book to print.

Inside my former publisher, we calculated the overall printing details of the book (paperback with general publishing look or hardcover with jacket) and the number of books to print before offering a book contract. In short, publishers pour a great deal of work into their books and financial projections before they call you and offer a book contract. Understanding this process helps you see some of the reasons it takes such a long time for an author to receive a publishing contract.

Many writers focus only on the creative aspects of writing a book and getting it published, but the executives inside a publishing house are businesspeople who want to sell books and turn a profit at the end of the day. It’s a delicate balance between creating the best possible product and assuring that each product has the best opportunity to sell on the market and reach the target audience.

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W. Terry Whalin, a writer and acquisitions editor lives in California. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. Get Terry’s recent book, 10 Publishing Myths for only $10, free shipping and bonuses worth over $200. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. Check out his free Ebook, Platform Building Ideas for Every Author. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook and LinkedIn.