Book Marketing: Sweetening Your Royalty Stream


© 2018, Charles S. Weinblatt

Congratulations!  You have produced your book. You are a published author! What’s next?  What should you do to enhance sales?

In today’s highly competitive and rapidly changing retail book market, even trade-published authors cannot count on someone else to successfully market your book. So, you will need to chip in with some time and effort to make your book a smashing retail success.

What marketing tasks must you accomplish as the author? Why an author platform?

Because of the changing nature of the publishing world and the revolution in electronic book purchasing, someone needs to market your book throughout the Internet world.  Because this work is extremely labor-intensive and detail-oriented, few publishers have the time, employees or enthusiasm to make electronic marketing successful. This is where the author must step in, with the motivation to work hard on behalf of your own book. The bad news is that there is a lot of work for the author to do. The good news is that almost no expertise or money is required.

Viral marketing ideas:

What should you do to help reach readers?  Contact local newspapers, magazines and blogs to solicit articles about you and reviews for your book. Reach out to local bookstores and arrange for book signings. In some cases, you can sell books on your own through local organizations. Keep in mind that institutional sales often include repeat sales, year after year, such as with schools, encyclopedias and libraries.

Try to obtain reviews and interviews about your book everywhere in your town. One of the fastest ways to solicit business for your book is through the media. Since positive reviews sell books, contact regional newspapers, libraries, schools, magazines and book clubs. They are a great place to start. When you encounter serious interest, send them a review copy.

But, the world is a lot bigger than your neighborhood.  If you want a great many people to read your book, you will need to create a much more global electronic marketing campaign. Fortunately, almost all of this can be accomplished with your computer.  Better yet, it won’t cost you a dime.

First, create a viral marketing campaign. Viral marketing means any way that social media allows for people to continue to spread the word on their own electronically. The obvious examples include web pages, blogs, social networking sites like Facebook and Twitter, video marketing (You Tube) and all other electronic means of spreading the word about your book. It sounds difficult. In reality, it is simple and free.

Use effective KEY WORDS, so that search terms in Google or other search engines will easily help readers find places where your book is sold.  Test your key words often for accuracy. Modify them as necessary.

Identify local people, places and organizations relevant to your book or your potential readers. Contact them in an effort to make them aware of your book. Ask if you can give a presentation to groups, if appropriate.

Contact regional newspapers, journals, magazines, TV and radio stations with a sales pitch for your book, or for your as an author. Personal interest broadcasters are always seeking new ideas and people. The more personal your effort, the easier it is to achieve success. Always try to tie your book or its subject to regional events, history, activities or to local people.

E-mail marketing is inexpensive and fast.  However, your sales pitch must grab the reader’s interest quickly.  You must construct an e-mail cover page that is informative, has embedded links to your web sites and the publisher and will sell the value of your book instantly.  More about e-mail marketing later in this article. 

Web site marketing:

Never rely on the public finding your one book landing page, or even your publisher’s web site, if you’re lucky enough to have someone else working for your book’s success.  Anyone can create a free web page for his or her book.  Just visit Yahoo, Google, Hotmail, WordPress, BlogSpot, Goodreads, or Facebook and begin building your site.  There are many other Internet sites where you can build a web site or market for free, not the least of which is LinkedIn.  The instructions are simple and fast.  The more pages that you create for your book, the more chances buyers will discover it.

For example, I created a free web page that includes many detailed facts about my book (Jacob’s Courage), including review excerpts, historical data and links to my Blogs and web sites, as well as my publisher.  To keep readers on the site, I added dozens of interesting and useful links about the Holocaust.  You can see this web site here.

I created another web site that includes a syllabus for my book, packed with features and reasons why people should purchase it.  You can see that web page here.  Connect these web pages to each other via links.  This is FREE.  All it takes is some of your time.

The secret to success with Internet web sites is to make them interesting and to use effective key words.  Key words (a.k.a. “tags”) are the way that search engines find web pages.  For example, if you Google “Holocaust love story,” you will find many useful references to me and to my book.  Select your key words very carefully.  The more accurate, distinct, descriptive and appealing your key words, the better the chance that search engines will uncover your book.

Some people recommend that you give away downloadable copies of your book on the Internet, as a marketing tool.  Publishers may disagree.  However, if you allow someone to download your e-book, or e-mail it to them, there is a chance that they will enjoy it and tell their friends about it. Someone recently asked if I was disappointed that so many people were reading my book from the local library, rather than paying for it at a bookstore. I don’t mind at all.  People who enjoy your book will tell friends and family about it. In the end, giving away books judiciously is a viable sales tool.

There is no limit to the number of web pages that you can create.  The more times you create a new web page, and the more times you update an existing page, the more times you refine and enhance your key words/tags, the more times people will discover your book.  Continue to perform maintenance on your key words and update your sites with continuously with new tags and links.

Before you are done, go to this web page.  Here you will be able to submit your book’s web  sites to Google’s search manager. This step is critical, so that your web sites will appear on as many future Google searches as possible.

Blogs:

Blogging about your book, blogging as a writer or writing on other blogs can be a powerful tool to increase sales. Anyone can create a blog for free and use it to promote a book.  I Blog on two of my own sites.  You can see them here and here. Blog about anything of interest to you, or any particular expertise you have acquired. It doesn’t have to be related to your book. Note that you can easily promote your book on blog pages, through links and sidebar widgets. Just be sure to sign off each post as, “Author of …” below your name. And use hyperlinks to activate the name of your book and your name.

Using Google to find appropriate marketing opportunities:

Anyone can use Google to search for any key words with a feature called “Google Alerts.” Simply visit this Google page and you’ll be able to program Google to search the web continuously, snagging every article, book, news item and relevant site to your book and its needs. You’ll not only know the latest news about the topic of your book, you’ll also be able to effectively measure the value of your prior marketing efforts for quality.

Importantly, you can also comment on other people’s blogs, vastly increasing your book’s visibility. For example, my book is about the Holocaust. I use the above Google search feature to troll the Internet searching for Holocaust key words. When I find Internet newspaper or magazine articles about the Holocaust, I visit the site, evaluate it for marketing viability and decide whether it is a useful marketing tool about my book.  When Google finds other blogs and pages that are Holocaust-related, I comment there about Jacob’s Courage.

Similarly, you can comment on articles in magazines and newspapers via their Internet versions. In some cases, you will need to register.  It’s usually free and the time you put into registering is a small price to pay for the ability to promote your book in future iterations of that newspaper or magazine. Most Internet news media allow reader comments after an article.  When you find an article related to your book, write your comment and then sign your name and, “Author of …” after your name.  Be sure to include the title and the sales URL of your book (Amazon, Barnes & Noble, Facebook fan page, etc..  If possible, add a link to your best web site under the name of your book.

Write articles:

Anyone can write articles and have them published on the Internet. Where is your expertise? What’s your book about? In what way can you provide people with valuable information?

Writing articles is not simple or swift. You may need to conduct some research. Take your time and write carefully. Your topic need not be connected with your book. For example, my book is about the Holocaust, yet I have had articles published on topics as wide ranging as publishing, psychology, Judaism, life, death, WWII and philosophy.

There are many free places to publish your articles, including TRCB, Ezine and Blogger.

LinkedIn is another terrific place to market your books. I’ve discovered that tens of thousands of readers and authors populate many more tens of thousands of group message boards in LinkedIn. Find one in which you can share some expertise. Then, within your posts there, find some unobtrusive way to share information about your book(s). Even if you simply sign off with your name and the name of your book, you can include a link or an embedded link below your name, or in the name of your book. I track most sales of my published books and I saw a significant increase in sales after I posted in various LinkedIn groups related to writing, publishing or books. There are many more. It’s not why I went there; but a side effect is more royalties.

Publish Articles:

I had excellent success publishing articles about a number of topics. In many cases, no experience as a published author is required. Two of the best places to start are Ezine and TRCB  My book is about Judaism, but I look for a chance to write articles about it that will be distributed on various web sites for all faiths. Again, sign off with your name and the name of your book underneath and copyright each article.  If they allow it, add the reverse-link to your best landing page.

Establish a Goodreads account. Goodreads is a web site for readers and authors.  It is a terrific place to see and be seen. There is no more natural place to sell your book’s value to potential readers. Although Goodreads is not a retail site, it offers an opportunity to network with other authors who have similar interests and problems.

Social networking:

Join as many social networking sites as possible. Twitter, LinkedIn,  Google, Facebook, You Tube, WeChat, Tumblr, Skype, Snap Chat, Google+, Pinterest, Telegram, Reddit, Instagram, Goodreads, …  They are all valuable ways to make your book known.  At each of these social networking sites, you can create a profile, including a description of your book and stores where it is sold. Be sure to create a Facebook fan page for your book, spread the word about  it and update it frequently. Join groups within the sites that are related to your book, writing, being published and anything related to the topic. Join groups of interest and related to your book. You can reach many thousands of people within these groups.

Amazon:

Amazon is not only a place to sell your book. It is a place to post a blog (“Amazon Author Page”). Amazon’s “filedby” includes an author biography where you can post relevant articles. Also within Amazon, each content section has forums in which people start topics or respond to the topics of others. Amazon forums are as wide ranging as history, historical fiction, war, genocide, love stories, religion, literature, etc.  Again, each time you write, sign off with your name and the title of your book (“author of…”). You will instantly have the potential to reach thousands of readers.

Create a review for any relevant book sold there that you have read. (“Create Your Own Customer Review”). Be sure to write, “Author of …” after your name. Every time someone reads your review of that book, the name of your book will appear. Since the reader is already on Amazon, they can purchase your book by typing its name at the top of the page.  You can review as many books as you wish, each time marketing your own book under your name.

Email marketing:

You can personally contact tens of thousands of critical people and organizations with e-mail. Never count on a publisher doing this. They can only dream of having the time and labor to accomplish such a task. All that you need are e-mail addresses, an effective sales letter and some time.

As an example, my Holocaust book could be sold at any Holocaust museum or Jewish center in the English-speaking world.  I used a Google search to locate the Association of Holocaust Organizations (AHO).  Each member of the AHO, throughout the United States is listed, with an e-mail address. All that was left for me to do was to create an effective e-mail cover letter and send it to each one electronically.

Since we have already established the danger in using attachments that people fear opening, you must embed links instead.  This is very simple and very fast.  Below is an example of one of my e-mail marketing letters:

“Greetings.  I am the author of historical fiction framed within the Holocaust called Jacob’s Courage  (2015, Texas Tech University Press).  A retired university administrator; I was also published for nonfiction in 1986, for non-fiction again in 2011 and then twice more for fiction.  Jacob’s Courage is a tender coming of age love story of two young adults living in Salzburg at the time when the Nazi war machine enters Austria. This popular historical novel presents accurate scenes and situations of Jews in ghettos and concentration camps, with particular attention to Theresienstadt and Auschwitz.  It explores the dazzling beauty of passionate love and enduring bravery in a lurid world where the innocent are brutally murdered. From desperate despair, to unforgettable moments of chaste beauty, Jacob’s Courage examines a constellation of emotions during a time of incomprehensible brutality.

Jacob’s Courage is sold through all major booksellers. Reviews include Jewish Book World and the Association of Jewish Libraries. You can read some of the other reviews more extensively at the Amazon siteJacob’s Courage is also a Kindle Book.  A syllabus is here.

Would you care to write an article about Jacob’s Courage, interview me or review the novel?  May I send you the e-reviewer’s copy?

Feel free to contact me at XXXXXXX.XXX or by telephone at XXX.XXX.XXXX.  Thank you for your kind attention.

Sincerely,

Note that hyperlinks are vastly superior to typing in lengthy Internet addresses.

Your e-mail message should be brief and concise – less than one page.  Embed the right web sites, contact information, reviews, sales links and media successes.  The e-mail is only designed to grab their interest, so be brief. The embedded web sites and relevant links will sell your book. At least one of your embedded web sites should allow the reader to instantly purchase the book. In my e-mail message above, the reader can buy the book instantly through the publisher’s site or through Amazon, with only one click required to reach the site.

I created four web sites for my book and I provide a few interesting articles as well.  This  took only a few days to create and modify them to my tastes. It cost nothing.  In fact, some large Internet companies, like Google, will pay you per click if you allow them to advertise on your site. Instead of paying for web site development, create your own and make money by selling advertising on it. Learn more about the affiliate program.

Embedding Internet hyperlinks into your e-mail cover page is simple.  In many e-mail programs that use Word as an editor, you can right-click on any word and then select the button for “Hyperlink.” Follow the instructions to embed the hyperlink. That word will appear in all future e-mail versions of your letter in blue. When your reader clicks on the blue word (while compressing the “Control” key), your web site will emerge in their browser.  Try it with the sample e-mail paragraph above.

Conclusion:

The world of book marketing and sales is undergoing considerable rapid change.  People who formerly explored the world of books and purchased them at their local bookstore increasingly do this now on the Internet. The Internet is filled with web sites, social networking locations and blogs that can be used to attract the public to one’s book and accomplish the sale with a few mouse clicks.

The author can solicit reviews, articles and sales by creating several attractive and concise web pages and by implementing an effective e-mail marketing campaign, right from their own computer – and it is cost free.

Since publishers are still required to edit, print, distribute and market in traditional ways, and since they have fewer staff due to lower margins, it falls upon the author to accomplish many new tasks related to electronic marketing and sales.

Marketing your book is time consuming and sometimes frustrating.  But do not count on your publisher, a publicist, an agent or anyone else to accomplish critical tasks, particularly if you are a new author. Remember that in fiction, the quality of your author platform means everything. Be willing to implement your own marketing with web sites, blogs, a Facebook fan page, regular Twitter posts and e-mail. The harder your effort, the larger your royalty checks will be.

Charles S. Weinblatt\

Author, “Jacob’s Courage

 

 

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8 Unexpected Lessons From Working with a Literary Agent by Brian Klems


With self-publishing becoming more widely accepted and Amazon waging wars with publishers, more and more I get the sense from aspiring authors that they don’t think landing an agent means as much as it used to.

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Writers’ Digest Guest post by Bethany Neal, who writes young-adult novels with a little dark side and a lot of kissing from her Ann Arbor, Michigan home. She graduated from Bowling Green State University and is obsessed with (but not limited to): nail polish, ginormous rings, pigs, pickles, and dessert.

“My Last Kiss” is her first novel. You can connect with her online at http://www.bethanyneal.com.
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They believe “traditional” publishing is going the way of VCRs and none of the old rites of passage apply anymore. That’s fine if you think that, but, in my experience, it simply isn’t true.

I signed on with my agent, Stacey Glick of Dystel & Goderich Literary Management, in September of 2010 for my first (unpublished) young adult, suspense novel and it has solidified some valuable lessons.

Guest post by Bethany Neal, who writes young-adult novels with a little dark side and a lot of kissing from her Ann Arbor, Michigan home. She graduated from Bowling Green State University and is obsessed with (but not limited to): nail polish, ginormous rings, pigs, pickles, and dessert.

My Last Kiss is her first novel. You can connect with her online at http://www.bethanyneal.com.
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    Searching for an Agent

The beginning of this journey started with little more than a polished draft of my manuscript. I started simply by researching agents through Literary Marketplace, which is a massive tome that sits behind the reference counter at most public libraries.

Some of this research was review because I had previously queried a paranormal YA trilogy that ended in 32 rejections.

Having revived my search, I made a shortlist of reputable agencies looking for YA. I browsed their sites and found agents within each agency looking for my specific flavor of YA. I write a little on the dark side—somebody is almost always dead—and I write a lot of kissing. Not everyone wants to represent that, and that’s fine.

I think the most important part in the agent search is reading every agent’s bio and only querying those you feel a connection with and who are interested in not just your genre but also your style. My agent, for instance, at the time was looking for darker YA projects with a strong voice. That’s my writing in a nutshell.

Landing an Agent

I had two full manuscripts and one partial out with various interested agents when I got the email.

The email that said Stacey read my manuscript and wanted to set up a time to discuss it. I’d been rejected by 14 other agents already, so I wasn’t even sure what that meant. Then I got the call.

Thus began a string of very important lessons for my writing career.

1. Look before you leap.

My agent told me what she liked about my writing and the story and answered every single one of my questions.

I was so out of my mind excited that she wanted to represent me. So I told her I didn’t need to wait to hear back from the other two agents interested and I wanted—needed her as my agent.

This is my one regret in my agent search. I should have given myself a day to regain sanity and speak with the other two agents. I don’t regret signing with my agent because she’s been an enormous support throughout the years, but it’s something I know I should’ve done for peace of mind.

Take that day to pause before you jump on the first agent who smiles at your manuscript.

2. Prepare to move.

Almost immediately, my agent was requesting more information.

Stacey asked me to send her an author bio and a synopsis for the other novel I’d written, then emailed me an agency agreement that stated DGLM exclusively had the right to sell my novel for one year.

Right out of the gate there were deadlines. This one at least was a soft deadline, but it stoked a sense of urgency.

We went back and forth on revisions for a few months and ended up pushing back the submittal date so she could feature my novel in DGLM’s Upcoming Projects newsletter to generate interest with editors.

[Understanding Book Contracts: Learn what’s negotiable and what’s not.]

3. Anticipate nice, bad news.

After about a month being out on submittal, she sent me an email chocked full of the most positive, helpful, optimistic rejections I’ve ever gotten in my life. It was the best of a worst-case scenario I could have hope for.

I made revisions based on feedback and we made a round two submittal, but the basic consensus was to move on.

Luckily, I’d been writing away during all this waiting and close to finishing a draft of my new project that editors were eager to read because they remembered liking my first novel. That new project is titled MY LAST KISS and was published by FSG/Macmillan on June 10, 2014.

I didn’t expect to feel encouraged by rejections, but aligning with an agent allowed me to receive bad news in a way that turned out positive.

4. You’ll idolize your agent a bit.

It’s strange waiting with bated breath for someone’s email while also kind of loving and worshipping them even though you’ve never physically met them. I don’t think I could ever do online dating because it was weird. I’ve since met (and loved even more) Stacey in person.

I wasn’t anticipating, though, how many emotions I would wrap up in whether or not I heard from her.

5. You will hurry up and wait.

There is a lot going on, but the process from signing with an agent to publishing is a pretty drawn out experience.

I had no idea how long every step would take. It took us five months to get my first novel revised and ready to get out on submittal. It took another couple months worth of waiting to hear back from editors. And there’s more waiting once you get published. You can make good use of the time spent waiting though. For me it became an opportunity for uninterrupted writing time, which is invaluable.

[Learn important writing lessons from these first-time novelists.]

6. Expectations will drive you mad.

The biggest, dirtiest little secret about getting an agent (and being published) that no one tells you: Expectations, albeit mostly self-imposed, will drive you mad.

You start worrying about what will sell. Don’t. It will lead you down a dark, dark path—like Van Gogh, cut-your-ear-off dark.

Do yourself a favor and don’t go there because it’s extremely difficult to climb out of that pit of author-ly sorrow. You can’t predict the market and what will or won’t sell. The sooner you accept that, the saner you will be.

7. Agents breathe fresh life into your work.

An incredibly positive, unexpected bonus to finding my agent is how insightful and willing she is to collaborate on revisions.

Stacey will send me an email with literally one sentence asking something about my manuscript and it will enlighten me to the exact issue I’d been trying to fix for eight months. Having access to an expert with a keen eye is invaluable.

8. An agent is a partner in your journey.

On the warm and fuzzy side, how much she believes in me and my writing is something I couldn’t have anticipated.

Being an author still feels like this soap bubble that might burst at any moment. Even after having my first novel published, that insecurity hasn’t gone away. If I didn’t have my agent to give me pep talks and reassure me of my talent when the chips are down, I don’t know where I’d be.

Being a writer is hard work. Getting published is even harder work. Having an agent can give you a much needed hand. Just know that there are some surprising twists and turns along the way.

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Brian A. Klems is the online editor of Writer’s Digest and author of the popular gift book Oh Boy, You’re Having a Girl: A Dad’s Survival Guide to Raising Daughters.

WHEN SHOULD WE SELF-PUBLISH? WHY? WHY NOT?


By Charles S. Weinblatt

My first book would have been a perfect poster book for self-publishing. It represents every solid reason why an author should self-publish. Forget the years of effort writing books and then devoting months or years attempting to contract with a small, independent publisher. Forget the years of writing, searching, struggling to gradually create an impressive author platform to attract literary agents. Forget depending upon someone you did not hire for editing, graphic design and printing. Forget waiting until a publisher is ready to schedule your book’s publication, and then the added time to distribute, promote, market and sell your book. When you self-publish, you make every decision on your own and on your own schedule.

Why was my first book such a perfect example of when to self-publish? First, it was not fiction. Fiction is harder to sell if it is self-published. It was a textbook on job seeking skills, something that I had honed for six years as a vocational rehabilitation counselor and then continued on my own in my private consulting practice. I taught it so frequently that I might have done it well in my sleep. And I knew that I was good at it. Thus, my textbook, Job Seeking Skills for Students (1986, Kendall-Hunt Publishing Company), would be viable. I could sell almost as many copies as I desired through my consulting practice and as required reading for graduate students in my university (The University of Toledo). Why share the profit if you don’t need to?

Of course, I wrote that book in 1985 and I understood nothing about self-publishing then. Along came Kendall-Hunt Publishing with a nice advance and I required no convincing. They could see that I would have little trouble marketing and maintaining regional sales. All they had to do was replicate it elsewhere. Given my complete lack of understanding that there was another option (self-publishing), I took the advance and gave my book to Kendall-Hunt. However, if I had the same decision to make today, I would self-publish it in a heartbeat.

Of course, with self-publishing comes serious responsibilities. The author must hire a talented editor, a gifted graphic artist with successful experience designing winning book covers and jackets, as well as a solid printer and an excellent publicist. The self-published author must purchase the ISBN, arrange distribution contracts on different continents and make sure that every retailer of value around the English-speaking world has copies to sell. This author must also handle promotion, marketing, sales, returns, stocking and restocking retailers, etc. Not rocket science – but very time consuming.

If it happened today, instead of 1985, I would also need to create the e-book version of Job Seeking Skills for Students and format it for each type of e-reader, tablet, computer and smart phone. Then, I would need to post it for sale at Amazon, Smashwords, Barnes & Noble, Powell’s, Diesel, Apple (iTunes), Kobo, Sony, Scrollmotion, Baker & Taylor, etc. But it would have been worth the effort. These are books made for self-publishing. Bypass the annoying, laborious platform creation and go directly to sales, where you, not a publisher, keep most of the profit.

There is a time and a place for everything. And when it comes to self-publishing, there is a difference in the chance for success between fiction and non-fiction. If the author is a celebrity or a highly-recognized subject matter expert, self-publishing makes perfect sense. But if the author is unknown and writes fiction, all such bets are off.

You can count on your digits the number of best-selling self-published fiction authors who were not already made famous by celebrity or by traditional publishers. Today, many famous fiction authors are deciding to carry their readers along into the self-publishing world. In other words, this works in only one direction. You use small independent trade publishers to attract literary agents, who will attract major publishers to your books. After you’re a famous fiction author, you may then decide to self-publish and keep more of the profit.

There are some excellent self-published books. I’ve self-published three books. They’re probably not excellent; but through them I was able to comprehend the process. Here is the single most important factor. There is no talent entrance bar for self-publishing. No one evaluates your writing. No aptitude is necessary. You can literally make your cat a self-published author in a few hours. This fact degrades all self-publishing books in the eyes of readers, agents, publishers, distributors, publicists, reviewers and bookstore owners. Please note that I am not advocating this as a desired condition; only stating it as a fact. It is not good, bad, right or wrong. There is still a stigma attached to self-published books. Thankfully, the stigma is somewhat lower than in prior years. But it remains. Since anyone can become a self-published author, regardless of talent, all such books are stigmatized by those careless, inept, unskilled “authors.”

This lack of industry vetting might mean nothing to a non-fiction author who is already a celebrity or known subject matter expert. But it can mean everything to a novice fiction author. Tread here very carefully. The vast majority of self-published books are not well written. They contain a multitude of errors in spelling, grammar, character development and punctuation. Just sample a few self-published books.

Do not suspect that most readers won’t notice these “little mistakes.” Readers will most definitely notice and they will roast you in reviews because of the mistakes. If you’re not willing to take the time and spend the money to hire a talented and experienced editor, why publish? It will only be embarrassing after it’s been read.

Self-published fiction is almost never reviewed by the most respected, persuasive and compelling review organizations in any genre. I am a long-time reviewer for The New York Journal of Books. Believe me, the best review organizations will reject it. As none of the best reviewers will take on a self-published book (so far), the author is left promoting reviews from readers, family members, neighbors or workplace buddies. Such reviews might appear nice on the surface, but they are unconvincing to the public. You would not buy a car if it was rejected by every major automotive review organization. Why would you not feel the same way about a book?

Self-published fiction books rarely appear on the shelves of bookstores, where more than half of all books are still sold. I’m not arguing for or against this – only stating a fact. Yet, that’s an enormous market to just give up because you want to self-publish rather than go through the trouble to create a winning author platform and attract publishers.

Unlike the trade-published author, who typically receives an advance and pays nothing to be published, the self-published author typically invests several thousand dollars on editing, graphic design, printing, ISBN, distribution, publicist, video trailer designer, marketing, promotion and sales. In most cases, the self-published fiction author will not recoup those expenses, let alone earn a profit. Please understand… I’m not telling you not to self-publish. I’m telling you why your chances for self-published fiction success might be poor and why you most likely will never recoup those expenses.

 

Although all authors must market, the SP author is completely on her or his own. She must hire her own editor, graphic designer and publicist. Without prior experience, hiring this kind of talent successfully can be hit and miss at best. The author must then hire a talented and experienced video producer to create a quality video book trailer and then it must be distributed in literally dozens of the right places.

 

Publishers, especially major publishers, promote your books at key international book fairs, conferences and conventions, something that would cost the self-published author thousands of dollars each year. Yet these are the best places to reach film producers and studio executives, screenplay authors, directors, as well as opportunities for translation and foreign rights sales. So add the cost of trips to London, Paris, Jerusalem, Berlin, etc., to your book budget.

And while the self-published author is devoting at least 20-30 hours per week to distribution, promotion, marketing, sales, stocking, etc., the trade-published author has more time to write new books because their publisher handles some of this heavy lifting. Don’t take this too far. All authors must promote and market their books. It’s just somewhat easier and less time-consuming when you have a publisher helping out.

A novice fiction author requires a powerful author platform to attract an agent. Major publishing houses only accept proposals from trusted literary agents; and well-connected agents almost never take chances on their reputation.

When an agent decides to read your query, he or she will also Google your name. When that occurs, you’ll want the agent to read many pages of powerful author platform, including dozens of positive articles and references about your books and your author reputation. Platform also includes influential writing awards, especially with regional or national media recognition. Agents and publishers want to see a gradual increase in sales of prior trade-published books. National or international news articles about you and your books in newspapers, magazines and journals are prominent platform building blocks. Major radio, TV and Internet interviews with powerful agents are useful. Blogging successfully and guest blog appearances with the best and most well-liked blogs help.

All of this takes a lot of time – years – to accomplish. To a novice fiction author, platform means everything. The big advances and publicity are earned one trade-published book at a time.Of course, being trade-published for fiction is not a decision. You need talent, a marketable book, a high quality publishing proposal (see other articles on this site for information about how to fabricate a winning book publishing proposal) and the determination to contact dozens or even hundreds of small independent publishers. During this time, building your author platform is the single most important focus of your task. It’s more important than royalties or sales. Platform means everything to a fiction author, because generates success later. And it can attract one huge piece of the puzzle – a well-connected literary agent. More about that, plus book marketing ideas elsewhere here: https://cweinblatt.wordpress.com.

5 Things Writers Should Ask Potential Agents by Brian Klems


An agent has offered me representation, but I don’t know how to tell if she’s right for me. What are the most important questions a writer should ask an agent before signing? —Anonymous

There are hundreds of questions you could ask an agent, from the sensible “What attracted you to my book?” to the slightly less sensible “When will you net me my first million?” The key is to choose the ones that will get you the most important information you need to make an informed decision.

Here’s a list of the five most crucial questions you should ask any agent before agreeing to join her client list.

1. Why do you want to represent me and my work?

The agent should be able to answer this easily. Agents generally take on projects that they not only think will sell well, but that they personally admire. This question gives the agent an opportunity to express her interest to you.

[Want to land an agent? Here are 4 things to consider when researching literary agents.]

2. How did you become an agent/get your start in publishing?

You want an agent who has a history in publishing, whether as a junior associate at a well-known agency or perhaps as an editor with a small imprint. You need to be assured that the agent knows the business and has the contacts necessary to give your book its best shot. You might also want to ask if the agent could refer you to one of her clients in your genre as well; getting the perspective of a writer who is in the role you’re about to step into can be invaluable.

3. What editors do you have in mind for my book? Have you sold to them before? Will you continue to market to other editors if you can’t make a deal with your first choices?

This is more of a three-part question, but it’s the overall answer that you want. By asking these questions, you’re checking to see if this agent has connections, and you’re also clarifying her overall game plan. This is key. You want to make sure your expectations are aligned.

[Understanding Book Contracts: Learn what’s negotiable and what’s not.]

4. What books have you sold recently?

This indicates whether the agent has a track record of selling books in your category or genre.

5. Why should I sign with you?

You’re about to enter into a partnership that neither party should take lightly. This is an opportunity for the agent to pitch you, just as you’ve pitched her, and convince you that she’s the right person to represent your work.

You’ll have additional questions more specific to your work, so don’t hesitate to ask them. They’ll simply show the agent that you’re savvy about your book’s target market. Agents are used to these inquiries, so they are unlikely to be surprised by any questions you may have. And if an agent refuses to answer anything on the list above, that should be a red flag that something is amiss.

 

 

Agent Queries and Publisher Proposals – Why You Should Use Links, Not Attachments


By Charles S. Weinblatt

Copyright © 2014

Abstract: Agents and publishers do not accept unsolicited letters, proposals or manuscripts from a novice author. Nor will they open an e-mail attachment from an author unknown to them. A well-connected literary agent is your access to major publishers and major publishers can shower you with a hefty advance and place the efforts of the best editors, graphic artists, printers, marketers and publicists at your doorstep, to make your book a market success. So, how do we, as unknown (or little known) authors, get agents and publishers to deliver contract offers?

This series of articles will help new or unknown authors understand how to create desired proposals and what literary agents and publishers will accept or reject. It offers a structural framework for distributing vast amounts of positive author information (platform) in a safe and protected manner that agents and publishers will feel good about opening without a malevolent result. Using a variety of embedded live Internet links, your author’s platform will be instantly available and with significant depth of data. This includes opportunities to sample different kinds of writing, writing awards, major newspaper, magazine and journal articles, TV, radio and broadcast news about you and reviews for your books from the most compelling and persuasive review organizations. This method will deliver the greatest amount of positive platform data in the most benign and viable manner.

Would you open an e-mail attachment from someone you’ve never heard of, who lacks any connection with you personally or by way of business? When someone you’ve never known sends you a poorly-worded e-mail informing you of their desire to share $20 million that their poor dead father left in some obscure bank account in Ghana just for you, do you give them your personal information? If a stranger via e-mail offers a free roof on your house if you will only open the attachment, do you open it? Well guess what? Neither will agents or publishers open your attachment. They don’t know you and now that you’ve contacted them in this manner, they never want to know you.

First, read the submission rules on each and every agent and publisher web site. Some agencies and publishers are closed to submissions or proposals. Sometimes this is only temporary, or for one or two genres. Those that will accept a proposal typically have solid rules for submission. Sometimes they even embed a strange or unusual rule, just to make sure that applicants are obeying. They own the game. Disobey their submission rules at your own risk. But remember, unless you’re a very well-known celebrity, you need them much more than they need you.

Never send a literary agent or a publisher an e-mail proposal in which the most important information has been added as an ATTACHMENT. This might sound like something everyone should already know, but then you might be surprised with the number of neophyte authors who don’t comprehend or who or won’t obey the rules. A number of small publishers and literary agents have regaled me with stories about how rookie authors ignore both submission rules and common sense.

In the past, we wrote manuscripts upon metal typewriters or by hand, paid to have it professionally edited and then we mailed the entire manuscript on paper to a literary agent or a SMALL independent publisher. Major publishers rarely opened or responded to unsolicited proposals then, let alone now.

Today, agents and publishers do NOT want to read your manuscript. Nor do they want your snail mail. If they desire you to hear from you at all, it must be in an e-mail with a brief description of who you are, why you have contacted them and why they should have any interest in your writing. All platform data should be in links, not attachments. If your platform measures up and if the topic is of any remote interest, then they will want to know more about your talent. And they will not open an attachment, period. If you send one anyway, your wonderfully-crafted e-mail and its attachment will be unceremoniously dumped into the e-trash pile.

Nor does an agent or publisher want to read a ten page electronic document that explains in great detail who you are and why you are making this contact. They desire your platform, but only in an electronic format that allows then to pick and choose which aspects to access in detail, with no attachment to open. Think about how Wikipedia encodes a vast amount of information about a person through a combination of headings, narrative and links. This is what you need to accomplish, but in an even more concise manner, via your e-mail message and embedded links. Your goal in submission should be three or four paragraphs, filled with LINKS and NO attachments.

That’s a lot about what not to do when contacting an agent or a publisher. So, how does a novice author win this contest?

First, and most obviously, you must have talent. No dashing protagonist or wondrous topic can make up for a lack of writing talent. Second, you must have a marketable book. James Michener could not have sold a book about how to drink a glass of water, regardless of how eloquent the prose or how deep the characters. Finally, you must be willing to spend a great deal of time marketing, show that you understand how to effectively promote books and demonstrate that you have already done so with other published books. All of this is part of your author platform. You can and must be able to prove that you have done this with other books. If you simply haven’t had the time to write a number of books and have then trade-published, then consider that your best years are ahead. You won’t be making the same mistakes as others. But there is no substitute for the time it takes to write, read, write some more and gradually use the learned aspects for future platform enhancement. The more you read, the more you’ll incorporate the best aspects of those author’s talents into your new books. I’m sorry if this does not coincide with our society’s value for instant success. The best authors spend decades reading the best authors and incorporating their winning attributes into their own books. If you are unwilling or unable to devote years toward learning how to be a great writer, then SP or vanity publish and best of luck to you.

For the rest of us, the answer lies in creating a relatively short (three to four paragraph) e-mail narrative that contains all of your platform and writing qualifications opened with LINKS, not attachments. While almost no one will open an attachment from a stranger, most of us will open a link. Why? They’re safer. Your computer might be wide open to attack if you expose a dangerous attachment; but chances are your browser will detect a threatening link and stop it before it opens. Add to that the protection derived from your firewall and anti-virus programs. Attachments are DANGEROUS, while links are much more benign. This article is about how to pass along positive aspects and details of your author platform via links that are live and safe, rather than via potentially-dangerous attachments.

Since your only real shot at an agent or publisher lies in placing all of your critical platform information in links, you will obviously need to put the data on commonly-used formats, such as You Tube, Facebook, Goodreads, book landing pages, major Internet interview sites, publisher sites and retailers, like Amazon, Barnes & Noble and Smashwords. I love using two major free frameworks. One is BlogSpot. The other is WordPress. Both platforms are easy to use and are globally recognized. An important criteria in this decision is how well you can understand and use analytics. Analytics provide the reason for the season. They show us who is paying attention, where they discovered us and how much of our message is received.

Contacting an agent or a publisher is not simple or free of risk. As your author platform constitutes everything positive about you as an author, the way you deliver that platform is absolutely critical. In essence, you have a few sentences to sell yourself. The paragraph below elicits how I might contact an agent or a publisher.

I was born in Toledo, Ohio in 1952. I am a retired university administrator. I’m also the author of published fiction and non-fiction. My biography appears in Wikipedia,the Marquis Who’s Who in America, and I am a long-time reviewer for The New York Journal of Books. I write novels, short stories and articles. I’ve received many positive reviews for my recently published novel Jacob’s Courage, including by Jewish Book World and The Association of Jewish Libraries, which you can review here.  Additional information is available on LinkedIn, Goodreads and a Facebook fan page for my novel.

This one paragraph opens almost every aspect of my author platform. The Wikipedia page alone reveals most of my recent writing achievements. But it goes one important step further. It reveals my ability and my desire to heavily market and promote my books. Today, virtually all authors must market – self-published, subsidy-published and trade-published. If agents and authors do not see proof that you are willing and able to market, they are going to be less interested in you. But if they see you working very hard to market, they will give your book and talent a closer look.

When I decided to find a publisher for my debut novel, I understood nothing of how unknown authors are published or how to acquire a literary agent. As the years passed, I read a great deal more about the process. More recently, I’ve interviewed dozens of writers, agents and publishers. I gradually made fewer mistakes. While I remain a relatively unknown author, I have a decent author platform, my recent books have been trade-published, I have a well-connected literary agent and a major university will be publishing me for fiction later this year. That’s not a career in writing; nor do I desire one. But I’m happy to share what has worked and what industry leaders accept as the bare necessity of acquiring an agent or publisher.

Technology marches on and the publishing industry continues to adapt. This serves the interest of both sides. Authors can waste far less time on proposal and query generation. Agents and publishers can access multiple layers of information about an unknown or poorly-known writer electronically. The deeper they want to delve, the more links they decide to open.

NEXT: What to put into your literary agent query and your small publisher proposal.

 

Fraud Artists: Scamming Authors


We read every day about one company or another scamming novice authors, stealing their hard-earned money for a vague promise and delivering nothing in return except misery. Often the new author who pays the most to an alleged “publisher’ can least afford to lose that money. Yet, every day, hundreds, if not thousands of novice authors fall for these wolves in publisher clothing, leading to anger, resentment and depression.

Almost everyone has heard of the publisher Penguin. They are a traditional publisher with a lengthy track record of success. Fewer authors understand that Penguin has a self-publishing business, called “Author Solutions.” Chances are, however, that someone reading this right now has been a victim of illegal business practices with Author Solutions.

You see, Author Solutions has “dozens of self-publishing brands including iUniverse, AuthorHouse, Xlibris, Trafford and Palibrio as well as media companies FuseFrame, PitchFest, Author Learning Center and BookTango. Author Solutions also operates Archway, a self-publishing imprint that is actually owned by Simon & Schuster. Furthermore, Penguin’s Indian self-publishing brand, Partridge, is another imprint run by Author Solutions.”

Three authors, in cooperation with Publishers Weekly, have started a class action suit worth over $5 million against Author Solutions alleging that Author Solutions misrepresents itself, luring authors in with claims that its books can compete with “traditional publishers,” offering “greater speed, higher royalties, and more control for its authors.” The company then profits from “fraudulent” practices, the complaint alleges, including “delaying publication, publishing manuscripts with errors to generate fees, and selling worthless services, or services that fail to accomplish what they promise.” The suit also alleges that Author Solutions fails to pay its authors the royalties they are due. Their attorneys are asking other writers who have “self-published with Author Solutions or any of its brands and have been the victim of deceptive practices” to come forward.

If this is not enough to give authors pause for thought before plunking down hundreds, or more likely thousands, of dollars, I don’t know what is. While a sucker is born every day, it’s hard to comprehend how someone who has never before won a writing award, who has never before been published for anything, could somehow come to believe that a “publisher” will suddenly bend over backwards to put their name on a book in print. But these sweet-talking fraudulent publishers do it successfully every day. Caveat Emptor! Such bad business practices presume that by flattering an unknown never-before-published author, a signed contract and check will soon be in the mail. And the are right!

By the tens of thousands, new authors are falling over each other to pay on average at least $1,000 to a publisher they have never before heard of, with the expectation that they will soon become the next Tom Clancy or Stephen King. Of course, they do not and they could have used their $1,000 for so many genuine projects and with real, not fraudulent companies.

With so many imprints, Author Solutions has tricked authors into thinking they have dozens of choices. In reality, however, the parent company is just slapping up half a dozen different logos, renaming packages, and selling the same grossly overpriced services to all of their customers no matter which brand ends up on the cover. They are accused of launching supposedly unbiased, purely informational comparison websites to help customers pick the self-publishing company that’s right for them, except all clicks lead back to Author Solutions brands. How many ways can you spell “despicable?”

As more and more of Author Solutions victims discover the class-action suit, there is little doubt that the litigation will rise dramatically in size and scope. Author Solutions claims to have worked with 170,000 authors. It won’t be long before scammed authors take their place in a long winding litigation queue of anger and resentment.

It is uncertain whether or if Penguin’s name as a publisher will be permanently tarnished by the devastation wrought by its subsidiary, Author Solutions. And it seems impossible that Penguin leadership was not aware of this fraud when they purchased Author Solutions. Had they nipped this fraud in the bud immediately, fewer authors would have had their money stolen in the name of “publishing” and that they could have much more easily contained the damage and the size of a likely award to the plaintiffs.

These scammers believe that they can easily get away with suckering people into believing that they can be a “real author.” And, sadly, they can most of the time. Here’s hoping that the Penguin/Author Solutions litigation will garner headlines for many years. Because otherwise how can we put an end to scam artists in the publishing industry? It’s now easy to understand why big business hates government regulation. Regulation and laws are the only way to prevent the wolf from eating the sheep with no fear of monetary loss and bad press. So, if you have been “published” by any of the Author House companies (see paragraph two), please contact the authors’ lawyers, Giskan, Solotaroff, Anderson & Stewart here. And if you are thinking about being published by any of these “self-publishing companies,” please be careful with your investment.

Based upon an article on Forbes Magazine, “Penguin And Author Solutions Sued For Deceptive Practices,” 5/7/13. http://www.forbes.com/sites/suwcharmananderson/2013/05/07/penguin-author-solutions-sued-for-deceptive-practices/.

Proposal Power: What Publishers Desire in a Proposal


As resume writing is a path to a successful career, the publishing proposal is a gateway for being published, especially for fiction. Unfortunately, very few neophyte authors are experienced in publishing proposal writing. Novice authors are rarely considered by publishers. Why should a publisher spend several thousand dollars on an unknown, unproven author? Since very few rookie authors have a literary agent, it’s up to the author to design a proposal that not only meets their expectations, but sweeps editors off their feet. Non-fiction authors who are known subject matter experts should still design a proposal. But it is vastly more critical for unfamiliar fiction authors.

Before we go any farther, if you think that this article will enable your book to be published by HarperCollins, Penguin, Random House or any other major publisher – STOP READING. Only trusted, well-connected literary agents deliver author proposals into the hands of major publishers. If you don’t have such a literary agent, or a close friend or relative in the industry, you will NOT have a proposal read by a major publisher – PERIOD.

Many small independent publishers around the world specialize in one or two genres. However, you can have a proposal read by one of the many thousands of small independent publishers around the world; and that’s a good way to start an author platform and propel your nascent writing career.

Publishing proposal writing is a science and an art form. Your proposal must not only explain very succinctly the synopsis of your book, but also how it compares to similar successful books in the same genre. It must contain, at a minimum, one section each on: the author, a concise synopsis, a market analysis, a competitive analysis, promotional and marketing concepts, a chapter outline; and sample chapters. This cannot be thrown together and submitted carte blanche to any and every publisher. It should be re-worked and customized for each publisher. You must explain why you and your manuscript are a good fit with each publisher, based upon the publisher’s past experience, areas of success, author and genre predilections. You accomplish this by analyzing each small publisher and demonstrating why your manuscript will make sense given the publisher’s preferences.

The author is the easiest section to complete. Expand upon all of your accomplishments as a writer or as an author of fiction. This can go back as far as your high school newspaper. Include all writing competition awards, published articles, prior published books, media outlets that have accepted your work, positive reviews from persuasive review organizations, etc. Include all major media interviews via radio, television, cable, Internet and local newspapers, journals and magazines. This section tells the publisher that you have had successful writing responsibilities and that you have been rewarded and recognized for your talent. It explains what makes your writing and literary experience relevant to this topic and to the specific publisher.

The synopsis sounds easier than it is. In about 500 words or less, you must describe your target audience, why your book is exceptional and why it is a worthy expenditure for the publisher. Concisely describe the most compelling and persuasive aspects of your book. Lead with a powerful description. You must grab the editor’s attention immediately. Here is one example that led to a publishing contract for one of my novels about young Jewish lovers during the Holocaust:

“How would you feel if, at age seventeen, the government removed you from school, evicted you from your home, looted your bank account and took all of your family’s possessions, prevented your parents from working and then deported you and your loved ones to a prison camp run by brutal taskmasters? How would you feel if you suddenly lost contact with everyone that you know and love? How would you feel if you were sent to the most frightening place in history and then forced to perform unspeakable acts of horror in order to remain alive?”

If that doesn’t grab your heart, maybe you don’t have a pulse. It makes everything that follows easier from the publisher’s perspective. No, the paragraph above does not constitute the synopsis. It says nothing about the protagonists, the story line, scenery, character development, dialog or the ending. But, it’s a start that may be sufficiently emotional to grab the editor’s attention. Avoid creating a long-winded, detailed synopsis, which is a very common mistake. Your synopsis should be about one page. Keep editing it until it describes everything relevant in your manuscript within a page. You do not need to explain the ending. But you definitely must hook the publisher’s editor.

The market analysis is relevant and essential. It tells the publisher that you comprehend the market for such books and how your manuscript is consistent with market needs. In describing the potential for your book, you must compellingly submit how expansive that market is today and where your book fits into it. Describe which authors are doing well with which similar books within this genre and why. This is where you’ll explain who will purchase and read your book, how many readers enjoy such books, where they are and why they will pay for it. You’ll need to perform enough research to cite specific examples and statistics to back up your claims.

The competitive analysis is perhaps the most critical portion of the publishing proposal. Here you contrast and compare your book with at least three similar books that have achieved prodigious public success. Select these three similar books carefully. They certainly do not need to be contemporary. Feel free to select a book from the Eighteenth Century, if it is relevant. Explain why people by the millions purchased that book, which is very similar to yours. Then explain why your book adds to the success of that genre.

It is not appropriate to suggest that your book is the same or better than the best-selling books in your sample group. Nor is it a place to suggest that your writing is better than that of Edgar Allen Poe (it is not). It’s a place to analyze why those similar books were a best-seller and how your book has the same potential. Heavy use of statistics is appropriate here. When you compare your book with a famous best-seller in the same genre, use research to produce valid positive statistics. For example, what is the best-selling book’s current Amazon sales ranking? How many editions were created? Was it popular globally? How many copies have been sold? How many positive reviews from famous review organizations did it receive? What did some of them say? How many awards did it receive? Was it made into a screenplay? If so, how much did the film gross? What awards did it garner? You’ll need to do this at least three times with the most successful books in your genre.

At the same time, discuss how your book treats similar situations differently and why. NEVER try to convince a publisher that your book is “exactly like…” the famous book. It isn’t and you will be perceived as insincere or not to be trusted. As you compare and contrast your book with the big-time, well-known successful books, cite similarities and differences in plot, location, dialog, protagonists, narrative, descriptive scenery, etc. Your book can belong to the same genre, but it should always be sufficiently different and for good reasons. Compare your book to the best-selling books in its genre by listing the potential for millions of sales, Amazon sales rankings, number of customer reviews, academic credentials, reviews from the most compelling sources, etc. Facts and figures belong here, as well as why that book sold so many millions of copies and how your book has similar potential. Many editors and publishers view this section as the most critical part of the publishing proposal.

Promotional and marketing concepts is an equally critical section. Here you’ll demonstrate two things: 1) that you are willing to carry forward the bulk of responsibility for marketing and promotion, and 2) that you comprehend the various tasks, requirements, efforts and skills required to make promotion successful.

Today, even large well-known publishers require authors with a platform to take on much of the responsibility for marketing. Unless your name is King or Clancy, it will up to you to market your book. The days of an author delivering a manuscript to a publisher and then doing nothing are long gone. No matter who you are as an author, regardless of your platform success, marketing and promotion are YOUR job now. Show that you understand how to do this. If you are not willing to engage in repeated public speaking, bookstore signings and book tours, if you’re not willing to produce media interviews, if you won’t land newspaper, magazine and journal articles about your book, if you will not create and daily add to a Facebook fan page and a web landing page, if you won’t blog, write on others’ blogs and disseminate an excellent book video trailer, then no publisher, other than a subsidy publisher, will have an interest in your manuscript.

The chapter outline is extremely important. Here, the publisher anticipates that you will deliver a description of each chapter in several sentences (not paragraphs). The publisher wants to digest the content of each chapter within a few seconds. If your chapter descriptions are several paragraphs each, the proposal will go into the e-junk pile. I have worked very hard to reduce my chapter outlines and my agent continues to demand even more brevity. This is an exercise in being extremely concise.

The publisher will want to read a few sample chapters. This is often the first three chapters, because that’s where character development is born. But it need not be. If you believe that three later chapters will better sell the book, use them. However, be advised that if you use later chapters, and the publisher has no way to relate to your protagonist, the quality of your manuscript will be lost. If you decide that the first three chapters are too boring to use, consider that those first three chapters may need rewriting to incorporate more anticipation, expectation, character development and conflict.

Finally, when all is written, edited and re-written, create a table of contents and use page numbers to identify each section’s location. All publishers expect this.

You’ll never attract a publisher by suggesting that you’re a talented author. If you are a novice and have yet to win writing awards or obtain positive reviews from compelling review organizations, don’t worry. We all start in the same place. Instead, show that you understand the publishing industry and your marketing and promotion responsibilities. Explain how you are creating an author platform that will be increasingly valuable to that particular small publisher. If the publisher has some interest in your book, they will be more willing to finance its publication. And if the publisher believes that more of those high quality books in the same genre are on the way, they will be more likely to donate several thousand dollars to print your first book.

Charles S. Weinblatt is the author of published fiction and non-fiction, including the popular Holocaust novel, Jacob’s Courage. His recent published books can be observed at http://charlesweinblatt.wix.com/charles-s-weinblatt.