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August 2014
Your Guide to Self-Publishing
Advanced Marketing Techniques
Social Media Strategies
57 New Titles Listed
Our Latest Indie Reviews
P U B L I S H E R S WE E K LY A U G U S T 2 5 , 2 0 1 4 54
Social Sophistication Not all social media platforms are alike
B R J
If you build it, they will come.
S
uch is the dream behind so-
cial media marketing. But
its also a dream distant from
reality. While self-pub-
lished authors hoping to
successfully market themselves and their
books are well-advised to establish a
presence on the major social media plat-
forms, in addition to creating personal
websites and Amazon author pages, so-
cial media needs to be approached strate-
gically.
An authors presence on each plat-
formwhether its Facebook, Twitter,
Goodreads, Wattpad, Instagram, You-
Tube, or Pinteresthas to be maintained
and updated with purpose.
Some clients want to shotgun [social
media] out to everyone, says Jared
Drake, new media director at Julia Drake
PR, a boutique marketing and PR agency
for authors. While Facebook, Twitter, and
Goodreads are the big three, other social
networks, depending on an authors vi-
sion and abilities to invest time and mon-
ey, could come into play. An author with
a photography book or a video series pro-
moting his books should be on Insta-
gram, Drake says, but not necessarily
everyone should be. Focus on those
[sites] that make a difference, he adds.
For instance, Colleen Hoover, a New
York Times bestselling author who self-
published her series Slammed on Ama-
zon (shes since signed a contract with
Atria Books, a Simon & Schuster im-
print), hosts videos on Instagram, which
is easier for her to upload to than Face-
book or Twitter. People really like the
videos, I think because Im kind of ri-
diculous in them, she says. But I basi-
cally just use that as my main form of
social media because its so easy to hit the
button, and it shares.
Thats another important element
about social media: the platforms dont
exist in a vacuum. Interconnectivity wid-
gets enable an update on, say, Twitter to
feed to Facebook or the Amazon author
page, extending reach. Drake approaches
each social media platform as part of a
larger marketing and publicity machine,
one that entails accumulating fans and
followers, engaging with that audience
(especially leading up to and following a
books release) and featuring advertorial
messages designed to actually sell books.
But operating this machine means
knowing how to pull the right levers at
the right time. Certain strategies work
better on certain platforms. Facebook,
more than any other social network, is an
advertising platform. By contrast, the
Goodreads community can be hostile to-
ward marketing messages. Social media
marketing success means understanding
the community on each network as well
as the promotional and messaging tools
built into the platform itself.
Facebook
The worlds most popular social network
has evolved significantly since its 2004
inception as a place for friends. In its
early days as a marketing platform, Face-
book touted itself as a great venue for
small businesses to achieve organic reach.
In other words, a self-published author
with a Facebook business page could, in
theory, send messages to friends and
friends of friends, exponentially increas-
ing her network and driving sales.
While Facebooks marketing tools are
now focused on advertising and paid
reach, its still an effective platform to
begin audience building. Facebook is
much more of a presentation: heres what
Im doing, what Im about, like my
stuff, says Drake. Its not conversation-
al, but its a great way to build an audi-
ence, which you need to do.
Beyond asking your immediate friends
and family to like your official author
page, what more can a burgeoning writ-
er do? Drake advises authors, first, to
define who their audience is and to come
up with five different interest areas.
From there, they should start targeting
their messaging through ads.
Facebook has two types of ads: display
banners that run on the right side of the
page, called right rail ads, and ads that
run in a users news feed as promoted
posts.
One of the biggest mistakes busi-
nesses make is not using our targeting
options when sending out marketing
messages, says Bess Yount, Facebooks
small- and medium-sized business lead.
For small businesses with limited mar-
keting options, its very important to use
our targeting options to spend money on
people who will be your customers.
There are several ways to send targeted
messages to people on Facebook. At the
most basic level, you can upload to Face-
book an email list filled with people who
have previously purchased your books
and target messaging to them. Interest-
based targeting is a more advanced and
slightly pricier tactic. If your book is a
biography about, say, legendary 49ers
head coach Bill Walsh, you can target
your messaging to 49ers fans, or if youve
written a fantasy epic reminiscent of A
Song of Ice and Fire, you might target
fans of the series, author George R.R.
Martin, or the HBO show Game of
Thrones.
Also consider what you want your
messaging to achieve. If you simply want
S O C I A L ME D I A
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S O C I A L ME D I A
people to be aware of your presence, you
can toss $100 into the Facebook machine
and get back around 5,000 impres-
sions. On the other hand, if you want
people to actually engage with your mes-
saging by clicking on it or liking your
page, the cost will be higher, and youll
want to target a pool of users who are
more engaged but consequently smaller.
Facebook also has a built-in ad report-
ing tool designed to show what sort of
returnwhether its clicks, engage-
ments, or sharesyou get for each dollar
spent. Authors should use this to under-
stand what theyre getting for their mon-
ey so they can optimize their messaging
and targeting.
But while it might be tempting to use
Facebooks advertising tools simply for
promotional messaging, Yount suggests
diversifying posts to drive engagement.
You need to engage with different cus-
tomers and create content, she says.
Understanding what people want to see
and hear from you is really important.
Ive spoken to a couple of authors, and I
tell them to make their Facebook page a
glimpse into their process.
For example, authors can upload im-
ages of their favorite place to write, or
post about whatever power breakfast
gives them the energy to write for a full
day.
Its an amazing opportunity to give
readers a behind-the-scenes look at what
theyre doing, Yount says. Putting in
that human voice is an engaging way to
use your Facebook page.
Twitter
If you want people to like you,
use Twitter.
Its so easy to reach out
and shake someones hand
and hobnob with a bigwig
you otherwise wouldnt,
says Drake.
Engaging on the platform
is straightforward: find people who share
your interestsespecially the influenc-
ers with lots of followersthen follow
them yourself and start commenting on
or retweeting things they say. If they like
what you have to say, hopefully theyll
follow you back, and voil, youve ex-
panded your network.
It also helps to figure out which of
your followers are the most influential.
Free online tools like SocialRank enable
you to sort your followers based on influ-
ence.
Twitter also has paid options for pro-
moting and targeting messages to its us-
ers. Like Facebook, Twitter allows you to
upload and target users based on your
existing email list or to build your own
audience to message, based on factors
like the keywords that appear in a public
bio (so you can target tweets about your
Bill Walsh biography to self-identified
49ers fanatics), follower count, and
tweet history. You can also request from
Twitter a line of code to add to your web-
site, which allows you to target Twitter
users who have visited (Facebook has a
version of this, too).
You can target anybody on Twitter
whos visited your website in the past 90
days, Drake says. You know youre tar-
geting someone whos a quality lead.
One thing to consider when it comes
to marketing on both Twitter and Face-
book: both user bases tend to access feeds
via mobile devices. Currently, 78% of
Twitter users and 81% of Facebook users
are mobile.
So links directing users away from ei-
ther social network should lead to a site
that loads well on mobile devices. If
youre trying to drive purchases via ei-
ther Twitter or Facebook, make sure that
path to purchase is both mobile-opti-
mized and fluid. If a purchase on a mo-
bile device requires too many
clicks or requires extensive
form filling, your would-be
customers will abandon the
page, and that may well
mean lost sales.
This might soon become
an outdated concern, how-
ever, as both Facebook
and Twitter are experi-
menting with features
that enable users to buy goods directly
through their respective networks. Nei-
ther, however, has made these capabili-
ties generally available.
Goodreads
Authors on Goodreads are going to want
to drastically tone down their promo-
tional messaging. Unless youre inter-
ested in irritating prospective readers,
approach Goodreads as a reader first and
an author second.
Authors who do well on Goodreads
treat it as a big party, says Patrick
Brown, the com-
panys director
of author mar-
keting. They
add value not
only by talking
about their own
books, but oth-
er s books as
well. Theyre experts oN the genres they
work in.
After setting up an author page on the
site, Brown recommends using the social
networks tools like Ask the Author to
begin engaging with users, or to do a free
book giveaway, in which Goodreads se-
lects certain interested members to re-
ceive a free copy of a participating au-
thors book. Goodreads supplies the au-
thor with the mailing addresses of the
giveaway winners, and the author pays
for shipping and handling.
I got a few thousand entries in the
first giveaways I did, Hoover recalls.
Through this, she got more people to fol-
low the author profile page shed previ-
ously established.
The detriment is cost. Goodreads
doesnt support digital distribution
(Brown wouldnt comment on whether
Goodreads would introduce this feature
in the future), and printing and shipping
books can be prohibitively expensive.
Hoover acknowledged the steep up-
front costs. She buys the books involved
in the giveaways at $7.50 each directly
Not all social media platforms are alike
P U B L I S H E R S WE E K LY A U G U S T 2 5 , 2 0 1 4 56
S O C I A L ME D I A
from the publisher, but
she thinks it pays off in
the long run.
I spent a lot of money giving away the
books instead of advertising, and that has
helped with word of mouth, she says.
That helps people want to come back to
my page to see if Im doing other give-
aways.
While digital-only authors are shut
out from participating in the book give-
aways, they arent shut out from the
greater Goodreads community.
So many authors go to Goodreads and
look at it wrong: Heres a pond full of
fish I can start marketing to! says Rob-
in Sullivan. She is married to hybrid sci-
fi author Michael J. Sullivan, who self-
published his first books, then got a deal
with the Hachette imprint Orbit, but
returned to self-publishing with his lat-
est novel, the Kickstarter-funded Hollow
World. Robin oversees the business ele-
ments of Michaels writing career, in-
cluding marketing. Goodreads is about
a community of readers, and when youre
in it long enough, they talk about your
books so you dont have to talk about
your books, she says.
For example, Hollow World was select-
ed, completely unprompted by the Sul-
livans, as a July read for a Goodreads
group devoted to time-travel fiction that
Michael participates in.
If youre helpful to other people,
theyll gravitate to you and when they
find out youre an author; theyll adver-
tise it for you, Michael says.
The Sullivans recommend joining
Goodreads groups related to your inter-
ests and hanging out for a week or two
absorbing the culture. Occasionally, au-
thors will enter a group and do some-
thing, like promote a project, that riles
the community. Those are learning op-
portunities. Once youve grasped the cul-
ture of the group, start contributing. If
people ask for book recommendations,
give them a few options. Community
members who click on your profile will
learn youre an author, but avoid men-
tioning it unless youre explicitly asked
about it.
Wattpad
If Goodreads revolves around
reading, Wattpad revolves
around writing. Because
Wattpad is fundamentally an
online publication portal,
writers using it to host their
work can build a fan base and
eventually drive sales (though as with
Goodreads, authors shouldnt rely on it
too heavily as a commercial vehicle).
Keep in mind, Wattpad is a social
network, says Ashleigh Gardner, Watt-
pads head of content. Many writers, shes
noticed, use their Wattpad bios simply
to blurb their books. If you do that, you
risk coming off as a hack, not a human.
Sometimes, a good Wattpad bio is as
simple as writing in the first person or
making sure your user name is your ac-
tual name and not, say, the name of your
book.
Self-published authors like novelists
Bill Gourgey and Brittany Geragotelis
drove much of their early success posting
on Wattpad. Geragotelis, after being
dropped by an agent who couldnt sell
her novel, began putting her work on the
social network.
She noticed most people published
paranormal romance, so she came up
with her own spin on the genre, called
Lifes a Witch, a reimagining of the Sa-
lem Witch trials set in the modern day,
with a kickass heroine.
Geragotelis got comments directly
from people loving her work, instead of
a stream of rejections from publishers
and agents. In six months, she had six
million reads. By 11 months, she had 18
million reads and people started asking
where they could buy it.
Like any other social network, those
interactions are important. Gardner em-
phasizes that authors on Wattpad should
take advantage of its environment by fol-
lowing other users and commenting.
Many authors join Wattpad and just use
it to broadcast what theyre doing, she
says. But its important to engage with
other users. Wattpad shows which user
is interacting with which story or author,
so its easy to identify the authors who are
active participants versus
those who arent.
From a more strategic
standpoint, its also impor-
tant for writers to consider
the keywords theyre using
to tag their work. Often, au-
thors can be a bit broad, tag-
ging a story with something like liter-
ary fiction.
Readers dont search for stories that
way, Gardner said. Tag it with some-
thing a user might search for. Consider
more specific tags like divorce or
coming-of-age. Instead of tagging a
story paranormal romance, consider
vampires or bondage.
Users search for universal themes, or
cities, or they search for unique character
archetypes, Gardner says. Using those
words rather than a genre is much more
effective.
Kickstarter
When self-published authors consider
their social media presence, the last site
they consider is probably Kickstarter, a
platform on which people can explain the
projects that they are working on and
their fund-raising needs, and interested
users can kick in a donation.
When Michael J. Sullivan decided to
go back to self-publishing with Hollow
World, Robin recommended he use Kick-
starter to raise $3,000 to have the book
professionally edited and produced (the
Sullivans budgeted $6,000, and planned
to contribute the other half). His Kick-
starter campaign ended up raising just
north of $30,000. In addition to replac-
ing the advance Michael would have got-
ten from a traditional publisher, it turned
out to be an unexpectedly efficient way
to garner new readers and to hype the
book well before it was released.
Most people think that if you have no
fan base whatsoever, theres virtually no
way you can succeed at Kickstarter, Mi-
chael says. He believes more than a third
of the people backing Hollow World had
never read his books or even heard of
himthey simply liked his project and
decided to fund it.
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S O C I A L ME D I A
However, Robin believes it helped
that Michael had already completed Hol-
low World and simply needed editing and
production services, so the project was
largely complete when he began asking
for donations. Additionally, hed already
published books, which legitimized him
and likely convinced Kickstarter users he
wasnt a fly-by-night.
Kickstarter campaigners create incen-
tives for prospective donors by giving
out prizes based on the donation sum
the bigger the donation, the better the
reward. Among the rewards Michael
gave to backers were early copies of
Hollow World.
It was a great way of advertising a
book. I got people whod never heard of
me to know about me, but part of the
appeal is that those people got the book
a year in ad-
vance of ev-
eryone else,
Michael says.
They received it a year in advance, read
it, and promoted it. Because they were
invested in the product, they generated
buzz a year in advance.
Theres another social component to
Kickstarter: you can follow other back-
ers. Robin, who is active in the commu-
nity, follows backers who have a reputa-
tion of funding interesting projects,
which is how she learns about work that
she otherwise wouldnt know about. In
other words, the more funders your proj-
ect attracts, the more exposure itll get
on Kickstarter.
All Things All at Once
If theres one characteristic that unites all
social networks, its time. To effectively
participate in just one community re-
quires consideration and effort. And time
youre using to partici-
pate in social media is
time youre not using to
write.
Whi l e Facebook, Twi t t er, and
Goodreads are obligatory when it comes
to social media marketing, you still need
to consider how much time you want to
spend on each (Michaels Twitter and
Facebook presence is pretty dismal,
Robin says).
Julia Drake, founder and CEO of Julia
Drake PR, emphasizes that despite each
networks unique rules of engagement and
promotional tools, social media market-
ing only gets out of hand when authors
dive into everything without any strategy
or understanding of their motives.
Spend the time to really understand
what youre doing and why youre doing
it, she says, or you can feel really over-
whelmed.
Ryan Joe is a writer living in New York City.
Tools for Success
Since most authors fail to take full advantage of best practices,
it means that those who do implement all the best practices have
a tremendous sales and discovery advantage over those who do
not, says Mark Coker, founder of the e-book publisher and
distributor Smashwords and author of Smashwords Book Market-
ing Guide. He cites preorders as a case study.
P U B L I S H E R S WE E K LY A U G U S T 2 5 , 2 0 1 4 58
Advanced Marketing Tactics for Indie Authors
B J MC
A
usten, Blake, Proust,
Whitman, Woolfthe
list of successful self-
published authors is as
old as traditional pub-
lishing itself. As long as there have been
gatekeepers like agents, editors, and
publishers, there have been determined
writers who find creative ways to operate
outside the castle walls. While an author
like Jane Austen never found success in
her lifetime, many more managed to find
an audience for their books and even cre-
ate a bit of controversy while they did it
(Walt Whitman was fired from his job at
the Department of the Interior after self-
publishing his book Leaves of Grass,
which some at the time felt was obscene).
These days, authors like Hugh Howey,
E.L. James, and Barbara Freethy regu-
larly hit the New York Times bestseller list
and have readers numbering in the mil-
lions. How do they do it? They do it by
writing good books and then helping
readers discover their workmarketing
themselves and their books like its their
full-time job. There remain many obsta-
cles to publishing success, but there are
also a lot of best practices that successful
indie authors followpractices that give
books maximum exposure and provide
authors the best opportunities for a work
to be discovered. Below, we go beyond
social media tools to look at different
ways authors can market their work.
An Education
A great way for indies to become part of
publishing and educate themselves about
the industry is to learn from peers and
industry experts, says Robin Cutler, se-
nior manager, independent publishers, at
Ingram Content Group. We highly rec-
ommend that indies join publishing as-
sociations like the IBPA [Independent
Book Publishers Association] and ALLi
[the Alliance of Independent Authors] in
the United Kingdom.
Cutler notes that many first-time au-
thors are often learning the business of
publishing from scratcheverything
from ISBNs to trade discounts and re-
turnswhich means authors have a lot
to learn before theyre able to think about
marketing. Before diving into publish-
ing, wed recommend a thorough due
diligence of the industry, to be knowl-
edgeable about your target market and
the publishing services providers that
can help you achieve your goals, Cutler
advises.
Once authors have a handle on how a
distributor operates and learn about
pricing structures theyre in a better
position to lay out an effective market-
ing plan.
MA S T E R I N G MA R K E T I N G
PREORDERS
Many e-book retailers, including Smashwords, offer preorder distributionwhich allows
customers to buy the book months ahead of its release. Weve found conclusive evi-
dence that books born as preorders sell more copies overall than books that are not,
he says. However, despite the availability of this free opportunity, he notes, most indie
authors dont use it, giving those that do an advantage. Offer e-book preorders, Coker
says, and make the preorder runway as long as possible. At the Apple iBooks store,
Barnes & Noble, and Kobo, Coker notes, all the accumulated preorders credit toward
unit sales on the first day of release, which causes the book to spike in the bestseller
lists. Once a book reaches a bestseller list, its discoverability is increased, which in
turn drives more salesmaking preorders a key marketing tool.
METADATA
Metadata is another key marketing tool that authors may overlookmetadata is the in-
formation an author enters about her book into her chosen distributors system that
feeds out to the marketplace. This includes the book description, the category, the
price, the author bio, blurbs, and any other data that bookstores and readers will use to
find an authors book. Incorrect or lazy data entry can make a book harder to discover,
weakening its search engine optimization (SEO). Be thoughtful and purposeful when de-
veloping metadata for your title, advises Cutler. Authors should include such key words
in the book description as relevant place names, current or historical events, and best-
selling books similar to the title being sold; select the most accurate category (ro-
mance, new adult romance, historical romance, etc.); and ensure their author bio is up
to date. Help us help readers find your title, Cutler says.
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MA S T E R I N G MA R K E T I N G
What to Avoid
If a campaign isnt targeted and partici-
patory, it annoys readers, says Coker. If
every marketing message is simply a bla-
tant sales solicitation, its boring and
readers will tune out. He advises au-
thors to engage readers in smart and in-
teresting ways that celebrate the book:
sneak peeks, cover reveals, and contests.
Beyond Social Media:
Marketing Case
Studies
Successful marketers do a lot of experi-
mentation, says Coker. They try and
test different campaigns. We talked to
a few indie authors about some of their
marketing successes (and failures) and
what theyve learned so far.
One marketing tool is to create con-
tent that complements the book and
then use that to get more publicity. Stine
relates how her forthcoming new adult
novel is set in the famous Domino Sugar
Factory in Williamsburg, Brooklyn
Advanced Marketing Tactics for Indie Authors
Finding (and Keeping) Readers
LEVERAGING EXISTING BOOKS
Another activity that distinguishes successful authors is that theyre writing multiple
books, and theyre leveraging those books as tools to promote new releases, says Coker.
Authors who are writing multiple titles in a series can drive preorders by updating all their
existing titles with a teaser for the new book in the backmatter. You should be running
special promotions, including pricing at free, to drive more downloads of existing books,
which will thenvia the updated backmatterdrive preorders for the upcoming books,
says Coker.
Authors who publish multiple books and employ smart marketing techniques are in-
creasing their chances for growing their readership. Focus your marketing on your fans,
lavish attention on them and their needs, and then leverage your fans to bring you more
fans, Coker says.
PRICING
In traditional publishing, authors usually dont have a say in the pricing of their booksa
big discount at any point in the supply chain means publishers, distributors, and book-
stores can lose money. This means pricing at traditional publishing houses is fairly predict-
able and set by the publisher: hardcovers are currently priced around $24.95 and paper-
backs around $16. Deep discounts on new books are rare, and there arent a lot of incen-
tives for readers to take a chance on a new author. But for indie authors, a marketing plan
that takes pricing into account can be a key component of a successful bookmost e-
book retailers allow authors to set the price of their books or even give them away for free.
Indie author Catherine Stine says shes learned a lot from marketing her thriller Fireseed
One, a finalist in the YA and SF categories in the 2013 USA News International Book
Awards and an Indie Reader Approved notable. Everyone wants a deal, says Stine. Her
advice to authors is to set their first book as perma free to help attract readers. Get on
Bookbub, BookGorilla, and other reputable sites whenever you have a sale, she adds.
DISTRIBUTION MATTERS
Those authors not content with just an e-book or simple POD edition need to plan aheadespecially if part of an authors marketing plan
is a book tour with speaking engagements. To host an author event, bookstores need to offer the authors books for sale, and for that
they must be able to order (returnable) copies. This is where choosing the right distributor comes in. While authors may think of their dis-
tributor simply as Amazon (if they think about their distributor at all once a book is published), the fact is that if authors want their
books in bookstores they need to publish with a print-on-demand service that makes books available to bookstore buyers. Bookstores
want returnable inventory, and CreateSpace PODs are not [returnable], says author Stine.
IngramSpark is Ingrams year-old publishing service developed specifically for indie authors. Unlike many of its competitors, it allows
authors to publish in print and digital simultaneously, as well as offering distribution to bookstores. The benefit, notes Cutler, is that au-
thors can take advantage of Ingram marketing services and gain access to Ingrams distribution channels that reach online and bricks-
and-mortar retailers worldwide. Every bookstore with an Ingram account can access and order books published through the service.
While most indie authors wont see their books automatically stocked on shelves across the nation (unless the buyer of a national
chain has reason to believe that a book will be receiving national media coverage), an author can still think locally and plan to create a
home-grown print market for her book. Engage your local bookstore and offer to speak, suggests Cutler. Patronize the store and build
relationships.
Authors who want to plan bookstore events or a larger book tour will want to think carefully about this marketing angle as online mar-
keting remains the most popular arena for indie authors.
continued on p.60
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MA S T E R I N G MA R K E T I N G
which was recently the site of a well-
publicized sugar-sculpture installation
by artist Kara Walker. Stine took ad-
vantage of this coincidence to pitch articles to media
outlets about the sugar trade and the factorys history to
coincide with the release of her book. While the articles
wont directly address the book or its publication, Stine
will be raising her profile as an author and hopefully
helping maximize her SEO as well.
Indie author Betsy Talbot constructed an unconven-
tional book tour she called the International Love Affair
tour to promote her title Married with Luggage: What We
Learned About Love by Traveling the World. The book high-
lights the couples adventures and insights working to-
gether while traveling around the world, and the tour
visited 10 romantic cities in Europe with her husband.
They promoted the tour both in advance and while they
traveled using social media, videos, and guest blog posts,
says Talbot. Successes included sponsorship of their
travel (hotel rooms, train tickets, donations from friends) and
new opportunities, including an invite to audition for a television
show. The downside? We didnt sell any more books during the
tour than we would have if we stayed at home, she says. What
would have sold the book better is [in-person appearances] at
bookstores, on morning television shows, on radio shows, etc.
Talbot will apply the lessons from this experience to her next
book tour and notes her email subscriber list has grown as a result
of the trip.
Marketing strategies can take many forms, and even the new-
est members of the publishing community are thinking of cre-
ative ways to sell their work. Hannah Yerington, an 18-year-old
poet, created a small publishing house, Bolinas Books, with her
father and recently launched her first book of poetry available
in print via Bolinass website. Her marketing idea? Writing
poetry on demand for people while wearing a silly white feath-
ered hat, says Yerington. People buy a book and then give me
a prompt or word, and I type out a poem for them on my 1950s
Royal typewriter.
It may seem silly, Yerington says, but Im finding the more
Im enjoying the whole launching and selling process, the better
I seem to be doing.
Persistence
While Virginia Woolf enjoyed great success with her own Hog-
arth Press, the publishing industry today is a lot more compli-
cated than investing in a hand press and cranking out printed
copies of a book in your living room. Modern indie authors have
to deal with choosing a publishing platform, designing covers,
organizing blog tours, getting Goodreads reviews, and setting
pricingall in a global marketplace that sees more books pub-
lished each year than ever before.
A successful marketing campaign involves many of the tools
mentioned here. While theres no one key tool to achieving
marketing success, using best practices and persevering, through
the publication of multiple books, will increase an authors
chance of success. Authors need to be ready to capture the
lightning when it hits, says Coker. Too many authors give up
too early.
Jennifer McCartney is an author and editor.
Indie author Hannah Yerington at her pop-up poetry booth.
Indie author Betsy Talbot and her husband traveled Europe as part of their marketing
campaign.
WWW. P U B L I S H E R S WE E K LY. C O M 61
Surprising Self-Publishing Stats
B B K S
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tatistics are funny things. Sometimes they teach us
a lot, sometimes they are confusing, and sometimes
they are intentionally misleading. Some of the sta-
tistics from two recent self-publishing surveys,
however, are starting to shake up the conventional
wisdom about indie authorsat least a little.
The first survey is the third quarterly Author Earnings re-
port, compiled by bestselling indie author Hugh Howey to
gather and share information so writers can make informed
decisions. The report concludes that the indie movement in
literature is not a blip and not a gold rush. It is definitely here
to stay.
The Author Earnings report takes its data from 7,000 top-
selling digital genre titles on Amazons category bestseller lists.
Among its findings:
The Big Five traditional publishers now account for only 16% of
the e-books on Amazons bestseller lists.
Indie authors are earning nearly 40% of the e-book dollars going
to authors.
$2.99 and $3.99 are currently the pricing sweet spots for most
e-book bestsellers. In general, authors who price their books
modestly earn more than those whose prices are higher,
but 99 is no longer the path to riches.