Tag Archive | publishing

How to Format Paperbacks Without Createspace’s Interior Templates

Formatting is one of those things every independent author must learn to do.  For most independent authors this means learning the quirks of publishing with kindle direct publishing, Smashwords, and Createspace.

In the last five years since the initial publication of the first edition of “The Great Succession Crisis” I have published dozens of paperback editions, including an experiment with QR coded paperbacks connected to an elaborate website built around the Complete Data Files.

Across the years I would typically create paperbacks by first creating the kindle edition, then copying/pasting the contents into a pre-formatted template file generated by createspace for my chosen trim size (usually 5.06″ x 7.81″ or 6″ x 9″).  No doubt many of you do the same.

But what do you do when that template no longer works and scrambles your book content when you paste it in?

When this happened to me in February 2017 while publishing “Gwenllian ferch Gruffydd: A Play in Five Acts” I went nuclear–as in the nuclear method of formatting where you copy your book into a plain text editor and then back again into MS Word.

On a regular book that uses the same basic format across every paragraph, the nuclear method is more or less a minor annoyance.  However on books like stage plays where formatting is rigid and complex, the nuclear method means weeks of tedious work restoring the formatting on a line by line basis.  I did this once; I will never do it again.

So what is the alternative?  Simple: change the page layout in your original kindle file to match your chosen trim size.

When making this change you want to go into Layout tab of Word.  You will be changing two parts of the layout:  page size and margins.

 

How-to-paperback-layout 3Begin by deciding on your trim size. The above graphic from the Createspace website shows your options and the page constraints of each trim size.

Next go into the Layout tab in Word and set the paper size.  This needs to match your trim size exactly.

 

How-to-paperback-layout 1

Finally with the page setup screen still open choose “margins” (also found at layout – margins – custom margins).

How-to-paperback-layout 2

First set “pages” to “mirror margins” generate the correct margin options of top, bottom, inside, and outside. Set your top and bottom margins to 0.75″, your inside margin to 0.75″, your outside margin to 0.5″, and your gutter to 0.13″ and apply to the entire document.

These margins are the same regardless what trim size you choose which is why setting your paper size first is so important to formatting your paperback.

Once both of these are set your document will change from its default 8.5″ x 11″ with 1″ margins that you are using on your digital book interior to the correct settings for your paperback — no separate template required and no scrambling of your book file. Create your front matter table of contents, copyright, and ISBN front matter as usual, add in whatever headers and footers you prefer, insert page breaks as needed, and viola! You are ready to save your book to pdf and upload for publication.

This method works equally well for both Createspace and Babelcube and should work with other paperback publishing platforms as well.

 

Formatting your book can seem daunting.  But with a little creativity and patience anyone can format a professional-grade paperback book.  It’s all in the layout!

 

 

 

Babelcube beware: what authors need to know before signing a Babelcube contract

Boudicca German web

The German edition of Boudicca was beautifully translated by Christina Loew. Thanks to frequent communication and Ms. Loew’s professionalism, the translation process was smooth and easy — exactly what most authors are looking for when joining Babelcube.

If you subscribe to this blog you know that in 2016 I took my books deeper into the global market.  After an exasperating fore into the Chinese market via Fiberead, I had high hopes for Babelcube, a platform for translation that mirrors many of the features familiar to authors who use Amazon’s ACX.com site for audio production.  But as with ACX, successful production and publication requires understanding the system and knowing how — and when — to walk away from something that is not working.

The ability to walk away is important for independent authors because a poorly translated book is damaging to the author’s brand; it reflects on the author as much if not more so than the original editions written by the author in her or his native language.  Therefore an author’s career is at stake each time the author signs a translation contract.  Don’t mess with this, my friends.  As much as you want to be sweet and nice when it comes to dealing with potential translators your life depends on you being picky and walking away when you can from any deal or possible deal that doesn’t uphold your author brand.

The first place you can walk away is when a translator first sends you an offer to translate.  This is the best time to fully vet the candidate.  Don’t skimp on this and do not feel obligated to accept any particular offer. We all want to be nice and we want to give people their break into a new career.  The problem with doing that is you may end up with poor quality work because the person has never been tested in the professional world as a translator.  Before signing anything TALK TO THE TRANSLATOR — don’t just look at the profile and give the person the benefit of the doubt because s/he seems likable.  Remember that this is a form of job interview and treat it as seriously as any job interview you’ve been on.  If anything does not smell right or you aren’t sure of anything at all politely decline.

But let’s say you’ve accepted the contract.  The next place and final place you can walk away is when the translator submits the first ten pages. In evaluating these, don’t just look at the words on the page but the FORMATTING because, as with your own books you self-publish, the formatting and editorial can make or break the book.  If anything seems like you would not submit those ten pages as a stand alone, polished work DECLINE THEM — this is your last and ONLY chance to get out of the contract.  Despite what you may see in the system, this is the actual point of no return for you.  Once those ten pages are accepted you are committed to publishing the book — no matter the quality of the final product you are given.

And this is the part that no one ever mentions to you:  you cannot decline to publish a completed book on Babelcube — even though there is a button in the review process that says “decline this translation.”

What happens if you do hit the “decline” button?  Firstly you are asked to confirm and warned that confirming the decline will open a dispute with Babelcube.  What this means is that they will investigate and make a ruling.  If they rule for you, the translator has to fix the errors.  If they rule against you then you owe the translator an undisclosed amount of money.  But the system doesn’t tell you that.  I found out by asking via email after I reviewed the final document on one of my books and deemed it of such poor quality that I was not comfortable with continuing.

In essence you have to approve the final book.  You can ask for some changes (hit “return” and then send a message to the translator to do so), but you actually DO have to hit “accept translation” and then publish the book. “Reject translation” means you are willing to pay for the translator’s time for a book that you will not publish.

For most people it’s far cheaper to enlist the help of someone outside of Babelcube’s system to help you fix the document so you can publish — which is exactly what I am doing right now.

This is why it is critically important that you wait until each translation is complete before signing another contract with a translator. Even after publishing one or two books all the way through the process (meaning the book is live Amazon, iBooks, Scribd, etc.) with a translator, my experience shows that it is best to only contract one book at a time with a specific translator.  Life happens and schedules change.  Limiting yourself to one contract at a time per translator helps everyone balance time and priorities to the satisfaction of all parties and empower everyone to create the best work possible.

In summary, Babelcube can be an excellent platform for translating books into multiple languages.  But success with it requires the author always beware of its inner workings and courageous enough to walk away from any project that does not meet expectations either before the contract is signed or when receiving the first ten pages.

This is your brand.  Protect it.

Going Global: A Look at Translation Options for Independent Authors

One of the best pieces of advice I ever received as an author was to publish as many books in as many places as possible and to sell on as many websites as possible.  The writing profession is a numbers game.  To win it (meaning making a living as a writer) you need to be where the customers are and sell what they want to read.  You cannot achieve it with a single kindle book sold exclusively on Amazon.  It won’t happen — or perhaps it could but your chances of winning the lottery or becoming president of the United States are greater if you lay only the one literary egg and sell it from a single basket.

One efficient way of maximising your exposure is to publish in multiple languages, opening your books for sale in more markets with more readers.  As popular as English is with Americans, the reality is that globally there are far more readers outside of the United States, readers who prefer to read in their native languages — not English.

For independent authors, there are three primary methods of reaching this global audience in the form of translated editions 1) contract with a traditional publisher offering translation services, 2) Utilize a royalty share-based translation platform, and 3) hire an independent and professionally certified translator.

I personally use all three.  Here are the pros and cons of each.

Traditional Publisher

My Chinese language editions are published with Fiberead, a Beijing-based fusion  publisher slash translation service using royalty share to pay the translation team.  It works similar to many self-publishing platforms.  You fill out a form about your book, provide Fiberead with both the current and blank versions of your cover art, and upload it to their system.  A team of translators is recruited and eventually your book is published in Chinese.

Pros:  Getting a contract is relatively painless.  It’s a straight forward process setting up your title with them. Publishes to Amazon China, iBooks, and several Asia market retailers unknown to most Americans. No upfront costs to the authors. All the technical details of the publishing process is handled by the publisher; once submitted the author does not touch her book again. Cover art is done by in-house designers from the blank cover provided by the author.

Cons:  Once your title is set up, you have little to no control over the book.  Author has no input on the translators chosen or quality of the translation.  Contract empowers Fiberead with broad editorial powers, including over book content (they can re-write your book if they wish to). Royalty share rate is (currently) 30% for the author — forever.  Fiberead forbids translators from providing authors with copies of the final work.  Authors cannot control or even suggest the sale price.  So for example Boudicca, Britain’s Queen of the Iceni sells for just 1 RMB. Converted to USD the sale price on Amazon China is about 12 cents.  At 30% of 12 cents, the per copy payment to me is 3.6 cents USD.  It takes 55 copies sold to equal the royalty paid on just 1 copy of the book in English on Amazon.com.  Once a book sells, Fiberead does not release any funds to the author until the author earns $50 USD.  As you can see from the above figure, that takes a long time.  Fiberead does not promote your book either — that’s your responsibility.  And if you want a copy to quote from, you must buy it yourself.

Royalty Share Translation Program – Babelcube

Boudicca German webThe second option for independent authors is to use a royalty share translation platform such as Babelcube which is what I use.  Very similar in format to Amazon’s ACX audiobook publishing platform, authors fill out a form with book details and the book copy for consideration by translators in several languages including Spanish, French, Italian, German, Japanese, and Portuguese.  Not every language is offered, notably Chinese, but authors are able to upload books published in any language so long as the book is sold on Amazon. Once the book is completed and approved, authors initiate the publication process on both digital (primary) and paperback options.

royalty

Babelcube’s incremental payment scale.

Empress Wu Spanish webPros: royalty share works on an incremental scale based on royalties earned, no upfront costs to the author, creative control over the final published work, ability to edit pricing and other details by re-publishing after the initial publication, some control over who translates the work. Authors are able to leave reviews for each translation.

 

Cons: authors need the technical ability to custom format their own work and correct certain errors that can come up in the publishing process. Not all the translators are professionally certified nor in possession of appropriate technical skills. Not all desired languages are available.  Some languages offer very few translator choices.

 

Independent Translator

Boudicca Welsh webThe third and final option is, in most respects, the most traditional. Translators are available globally and discoverable online through search engines, social media, or in the case of my work with Gwenlli Haf of Cyfieithu Amnis Translation, through a personal recommendation from a mutual professional acquaintance.  Translation fees are typically word count based, a format familiar to authors who hire professional editors.  A down payment is typically required at the time both parties sign the contract.  At project completion translators then invoice the author for the balance due.  Only upon payment in full is the work released to the author for self publication.

Pros: translators are typically professionally certified with some level of guarantee built into the contract. Authors and translators are able to negotiate precise terms for the project so the details (such as publishing rights) are clear before the work begins. Upfront payment to translator; the author keeps all royalties upon payment of the invoice unless other terms are specified in the contract.  Creative control across the entire process.

Cons:  word counts in different languages are not uniform, making it easy for the author to underestimate the final word count for the translation.  Translators and authors are typically residents of different countries and using different currencies with exchange rates and currency exchange fees varying widely.

Analysis/Summary

Independent authors benefit greatly from expanding into larger, more global marketplaces by offering their books in multiple languages.  In my personal experience with all three options, hiring a translator offered me the most flexibility and creative control which I, like many independent authors, tend to value. The professionally certified skills of independent translators offers security and confidence in the quality of work offered.  However as with any upfront professional service such as editors and illustrators, this option requires considerable pre-publication investment.  Of the royalty share options, the translation publication platform offers a balanced approach.  Though great care must be taken in choosing the translator, the author is able to avoid upfront costs while maintaining creative control.  The royalty share split is typically fair to both author and translator.

One important lesson learned from all of this:  traditional publishing contracts offer less and less value to independent authors.  Therefore 21st century authors seeking to prosper in the new publishing market increasingly thrive by handling as much of the publishing process as possible rather than defer to traditional publishers whose contracts increasingly work against the author’s interest, costing authors more while offering less value.

 

Marketing’s Big Lie: Instant Results

SherlockMost writers want to do just one thing:  write our books.  Few of us come from marketing backgrounds.  Still fewer of us think of ourselves as entrepreneurs and business owners.  In the old ages of traditional publishing, authors rarely had to be any of those things.  We slaved away trying to get a publisher to notice our work and/or securing a literary agent who would pimp our work for us — for a fee — while we went off and kept writing.

Self-publishing and the digital age has changed that for both self-published and traditional publishers.  Just as cigarette machines have gone by the wayside and Sherlock Holmes uses nicotine patches instead of smoking his pipe in response to smoking regulations in London, the days of in-house marketing and advertising for books by publishers are gone.  Today authors must do most of the work themselves.

There are no shortage of marketing firms to delegate to, of course, but as I found out across the winter of 2014 when I hired 180Fusion, marketing firms too often care about getting the business — any way they can.

new-york-times-best-selling-author3

What this means is that marketing firms promise the sun and moon to you — if you hire them.  180Fusion promised to put me on the New York Times bestseller list within 30 days, using my natural optimism to augment their pitch.  I, like most people, want to believe that people are telling me the truth.  I have faith that everything works out.  I have faith in the quality of my work.  I know these books are well-written and reflect a lifetime of scholarship and dedication to my craft.

180Fusion took that and used that very positive quality against me with their pitch about what they can do with advertising on facebook.

Facebook advertising can and does work for some people.  The essence of their work is to study the numbers to make facebook ads profitable, making adjustments until the ads result in sales.  As Jonathan Gebauer points out, this actually is sound — but with one catch that was omitted from the pitch until I was ready to close my account:  it takes time, often months and years for it to work.

This is not something that can be achieved in the 30 days promised to me back in December 2013 when I signed up.  In fact it was only when I made a fuss about not getting results that I was told, quite condescendingly, that what they promised was actually not at all possible.  Then they said I needed to give it more time.  Just give it more time.

This was the truth in the lie.  It takes time.  Except they never told me this upfront, before I signed up.  They told me when I was ready to cancel, when they knew my patience was at an end.

permission to walk awayNow normally I am a very patient person.  If this service had cost me $10 a month, odds are very good I would have stuck it out.  Except it costs a minimum of $300 a month — when my budget was $10 a month!  This was known from the onset.  So they promised me the sun and moon and instant results.  It didn’t matter that their service was many times more than my budget!  Because I would re-coup what I spent with them very quickly.

It was a lie and they knew it!  It was predatory, disrespectful, and sadly not atypical of far too many marketing firms.

Instead, their focus was on getting me to sign up; it didn’t matter that to pay for their service I would have to plop down hundreds to thousands of dollars on a high rate credit card; as long as they were getting paid, they really did not care about me or my books.

Most people have a word for that and it is not nice at all!

gbp-50-british-pounds-2

So what can we learn from this?  

Number one:  NO MARKETING STRATEGY GIVES INSTANT RESULTS.  As Jonathan Gebaur puts it, “Marketing never comes with a red button. 90% of the time marketing means: Work… Frustration… Small Improvements. Working out the little details. Improving little things to improve our results just a little bit. Good results take a lot of sweat and tears.”

Number two:  no matter what a pitch says, do not spend what you do not have in cash right now.  Set your budget honestly and hold to it.  If a company tells you that your budget doesn’t matter and you must spend more than that with them, they do not care about you; they care about getting your money.

Number three:  choose carefully.  Know that whatever do in terms of marketing and advertising will take several months to get results from.  Don’t just throw money at things hoping they will work; approach this with a plan and a clear set of perimeters and goals.  Pick one primary approach (like guest posting) and focus on that.  Don’t try to make everything happen all at once from everywhere.  Chaos works against you and ultimately robs you of your ability to focus, concentrate, and respond to your business and reader’s needs.

Marketing firms are out there to help you and should be used by independent authors.  But as with so many things, the rule “buyer beware” applies.  Ask questions, probe firms for answers, and if you see even a whiff of a hard sell or pressured pitch, run do not walk away.  Any business who cannot respect your budget and your goals is not really interested in working for you; rather they just want your money.

Reblog: An Active Author Brand

Today’s book marketing post comes from Richard Ridley of Createspace.

————————————–

If I had to describe the key to succeeding in indie publishing in one word, that word would be “active.” For a profession that involves a great deal of sedentary activities, those who rest on their laurels find it very difficult to sell books on a consistent basis. You have to keep moving in order to grow your author brand. Here are the three crucial areas where you should concentrate most of your activity:

 

ABW – Always Be Writing: If you want to get noticed, you have to have a track record in today’s publishing world. One book will most likely not help you gain widespread notoriety. You need multiple books to create an author brand that will get you noticed and bring in the sales.

 

ABM – Always Be Marketing: You can’t have books on the market today without an author platform. A platform is simply your online presence. That presence in today’s digital age includes your own website/blog, Facebook, Twitter, Instagram, etc. And this presence requires you to be present in order for it to be effective. Contribute to your online presence multiple times a day.

 

ABI – Always Be Interacting: When you have your platform up and running, your readers are going to reach out to you. Don’t ignore them. Interact with them. Let them know how appreciative you are for their support. The more you connect with them, the greater the support they’ll give you.

 

The world of indie publishing is not for the lazy or unmotivated. It requires boundless energy to succeed. It requires that you be active.

 

-Richard

Richard Ridley is an award-winning author and paid CreateSpace contributor.

Authors: this form is not rocket science

Keywords: marketing, self-publishing, blogging

It is three in the morning eastern standard time.  Really truly I thought I would be back in bed like a civilized lass by now.  But I am taking out a few minutes in the middle of the early morning because I am utterly baffled on something when it comes to my sister and fellow authors:  why can so few of you follow kindergarten level instructions?

If you follow this blog you know that on Thursdays I run a character profile column based on the Chris Matthews’ Show column called “tell me something I do not know.”  On his show, Chris Matthews gives political pundits about 15 seconds each to tell viewers something they do not know and should know about current events and politics.  I can be a bit of a political junkie at times; Meet The Press is my favourite program on NBC.  And yes, I confess I love the dedicated journalism of NBC London’s Keir Simmons; he is definitely a role model to look up to as a writer.

Taking a page from this journalism, these character profiles are designed to be SHORT.  Firstly, they are completely free to the authors featured — as opposed to book cover reveals which tend to be PAID ADVERTISEMENTS (and no, I do not find those effective from a marketing standpoint).

Secondly and perhaps most importantly, the purpose of these profiles are to get you CURIOUS.  When you as a reader are curious about something, you take the initiative to learn more about it, to explore it.  The discovery process is satisfying for us as humans; we like to sample and try things ourselves. When authors deny us this process by overselling, our instinct is to move on.

 

The First KingThe requested information on my form is therefore no accident.  It is in fact very straight forward.  I ask for the series name (if there is one), the character name, the book or books the character appears in, the Amazon or Smashwords link (permafree flash fiction like The First King tends to be on Smashwords, not Amazon because Amazon does not allow authors to offer free books there), and of course two or three sentences about the character.  This is not rocket science.  In fact, the instructions for the character profiles are many times simpler than those used by Amazon, Smashwords, and Apple to publish on their platforms.

I assume that someone able to self publish on the above is capable of filling out these fields.

Apparently though I am wrong.  This is discouraging because I genuinely want to profile more character from more secular children’s, middle grade, and young adult books on this blog (if you are an author of these, please email me at peersofbeinan at gmail dot com with your inquiry and proposal).  I love working together to bring great independent and small press books out there to readers like you.  But seriously:  this is a favour to you, a service.  I am not your mother, I am not your editor.  Do not treat me as one unless you want to pay me for the privilege.  Do not get cute or think that the rules here do not apply to you.  Because at this point instead of playing mommy dearest and treating you like a child, I am simply now rejecting submissions.

This form is not hard.  It is not rocket science.  If you can pass 2nd grade, let alone write for the 2nd grade, you can follow my instructions — or at least email me back for clarification on what I mean.

Time to grow up, folks!  Self publishing is not for the feint of heart.  If your aim is to fail at this industry, the best way I know is to disrespect bloggers and other writers doing you favours like this.

 

I for one am done playing mommy.

 

 

 

Reblog: 5 New Years Resolutions for Authors

Here is another gem from Book Marketing Tools.  I do not agree with everything in this blog post, especially this idea that you can and should try to do all/most of this EVERYDAY.  I find focus is very important to my writing and my productivity; do things ONE at a time or you will burn out trying to be everything at once.

 

Here is that post in full:

5 New Years Resolutions for Authors

Happy New Year!

A new year causes us to look back at the previous year and see all that we have (and have not) done.

A new year also allows us to look ahead to the coming year with renewed optimism and excitement for what is to come.

A new year wouldn’t be complete without some resolutions. Some people want to lose weight. Others want to be more productive. Some want to start a new business and others want to take their business to the next level!

As a self-published author, there are some things that you can do to improve your business, further your brand, and hopefully make more money by selling more books. Before we dive into our list of 5 great resolutions for authors, let’s look at what makes a good resolution.

What Makes A Good New Year’s Resolution

Lisa Lahey, a Harvard professor, says, “People in the New Year’s resolution approach are just going directly at trying to change their behaviors. For the majority of people… it is just not going to work because it is not fundamentally a behavior problem: It is a mindset problem.”

The key is to not focus on changing behaviors. Many behaviors are ingrained in us and usually have a deeper root cause that, if not addressed directly, will cause our surface behavior change to be short-lived. You may succeed in the short-term, but you will usually fail in the long-term if you are trying to just change behaviors.

So how can you make resolutions that you can stick to? The key is to focus on what Lahey calls “technical goals”, those that require learning a new skill or implementing a new behavior. Instead of making a goal to “lose more weight”, you can focus on a technical goal such as “walk 1 mile, 4 times per week”. Such a goal is related to “lose more weight”, but this type of goal can be measured, tracked, and is something you are in control of. If you resolve to lose more weight but your body doesn’t cooperate, then you can become discouraged. By creating goals that you are in control of, you can control whether they are accomplished or not.

How does this relate to authors?

All authors wants to sell more books (of course), so that usually becomes the focus of their goals and resolutions. The problem is, you are not directly in control of whether or not you sell more books (unless you are buying them all yourself, which defeats the purpose.) You CAN control the steps you take to help you to sell more books and those are the types of goals that a self-published author should focus on.

What Can You Do To Sell More Books This New Year?

Here are the 5 New Year’s resolutions for authors:

  1. Spend 30 Minutes A Day On Marketing – Marketing is important but it is often neglected. Either authors don’t like the idea of marketing, they don’t know what to do, or they would just rather be writing. Whatever the case is, marketing is often neglected and if you aren’t marketing, you probably aren’t selling as many books as you could be. Marketing is simply telling other people about your product. Resolve to spend just 30 minutes a day finding and adding readers on Twitter, Google+, or Facebook. Work on reaching out to blogs that have a similar subject matter as your book, finding reviewers, or setting up passive marketing mechanisms like calls to action in the back of your book. There are plenty of things to do, so if you can devote just 30 minutes a day to marketing, you will definitely be able to sell more books in this new year!
  2. Write More Books – While I don’t believe in the philosophy of simply writing more books as your only form of marketing, I do think that the more books you have, the more opportunities you have to gain readers and sell more books. Focus on publishing as many books as you can this year (even if it is just 1 or 2), because different books will grab people’s attention in different ways, but once they see and like your writing style, they will want to read more books from you so it pays off to have more books to sell to them!
  3. Set Up Your Mailing List and Send People To It – If you do not have a mailing list set up, read here to learn why you should set up a mailing list. If you already have a mailing list, or after you set one up, work on leading people to the mailing list. Create an enticing offering, whether it is a piece of art, a novelette, or something appealing to get them to sign up to your mailing list. Talk about your mailing list and the exclusive content they can get by joining the list on Twitter, Facebook, on your blog, etc. This is the single most important marketing mechanism you can have in place, so put your focus on growing your list this new year.
  4. Find 2-3 Blogs A Week That You Can Promote Your Book On – Finding blogs that deal with a similar subject matter as your books is one of the most effective ways to market your book. Does your main character love her cat? Find cat-lover blogs and tell them about your book, possibly even offering a free copy to the blog owner. They get a free book, something to write about that their readers will love, and you get a way to promote your book that isn’t saturated with other books and that can drive some solid sales to your book! It is a win-win strategy for all involved: you, the blog owner, and the blog readers! Seek out and find 2-3 such blogs each week and reach out to them (this can be done during your 30 minutes of marketing a day!) Expose your book to new readers at each blog who would love to know about your books!
  5. Connect With 3-4 Other Authors You Can Cross Promote With – The idea of “self-publishing” creates a feeling of having to go at it alone (the word “self” doesn’t help), but you do not need to go on this journey alone! Find 3-4 other similar authors early in the year and reach out to them to see if you can work together with them to promote each others’ books. You can run discount promos together, you can tweet about and share each others books, and you could even make boxed sets featuring 1-2 of each authors books. Many more promotional opportunities are available when you work together with other authors. You can share your audience, your reach, and get more exposure all from working together! Work together with other authors to help boost sales for each of you this year!

Charging Ahead in the New Year

There is always some type of marketing you can be doing, but there are never enough hours in the day to write more, market more, and do all of the publisher duties such as editing, formatting, etc. But, you can make small, measurable goals or resolutions to improve your marketing this year by resolving to do a few (or all) of the resolutions above! These steps will help you to accomplish the ultimate goal to sell more books and get more readers!

Here’s to a happy and prosperous year!

– The Book Marketing Tools Team