Using Your Complimentary Copies—Wisely

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Many authors receive free copies of their book at publication, but most don’t know how they can leverage those copies to increase book sales and to draw in new clients. The following are a few ideas:

  • Send signed copies to their network—the decision makers—encouraging them to purchase copies for each staff member if they enjoy the book
  • Send a copy to their top five media contacts and ask to appear on a segment or podcast
  • Raffle a copy of their book to a random winner who joins their mailing list

Authors can also use their author discount to purchase additional copies to accomplish many of these tasks too. The goal is not to give away tons of books for free but to invest in oneself. Putting a signed copy of a new release is a small lift that can have long-term benefits.

Good luck!

Tapping Your Network

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You’ve signed with your dream publisher and submitted your manuscript to production. As release day draws closer, you wonder what you can do as author to help sales and publicity. The following are a few tips that involve leveraging your network to drive sales as soon as your book is available for preorder.

> Ask to appear on their podcast—Discuss your expertise and plug your book. You don’t have to sound like a salesperson, but you must understand that you are your book’s biggest cheerleader. It’s even better if the podcast centers on your area of focus because you know that you are in front of the right audience.

> Send an advance copy of the book to your media and industry contacts—Invite them to leave a review, talk about it to their followers, and purchase a copy for their teams.

> Continue establishing yourself as a leader in the space—Book consulting and professional learning on the subject. Create future keynote presentations or online offerings on the book’s topic. Remember that while writing for well-known publications like The Atlantic, NPR, or Edutopia will often put you in front of a larger audience, do not dismiss the benefits of posting to popular sites like LinkedIn, Instagram, or TikTok. You should have a modern, easy-to-navigate professional website and social media account.

Refreshing Your Website before Hitting “Send”

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Many publishers check prospective authors’ platforms ahead of offering them a publishing agreement. Their goal is to sign authors with a strong platform to mitigate the risk of signing someone who cannot help drive sales of their book. So, the following are two elements that authors should address before sending a publisher their book proposal.

  1. Verify that their website lists their expertise and keynote/consulting topics—Publishers are looking for thought leaders. They want to sign the biggest name or promising emergent names on a topic. They want to see what listed topic or audience is a natural fit for the prospective author’s book. So, outdated information will not help a modern contract.
  2. Remove dead and obsolete links from their website—Broken links look bad! If a page has moved or if authors no longer post to social media sites like Twitter or YouTube, they need to remove links to those sites from their website. It doesn’t matter if the author has 50,000 followers on that page: if prospective authors are not engaging with those followers, they won’t buy the book.

Good luck!

Shifting the Focus of Your Book Post-Contract

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Often, books are contracted months or even years ahead of their release. As authors’ platforms and work evolve, they may find that the audience or topic they’re writing to is no longer the largest part of their business. To get the publisher’s support to change directions while keeping the contract terms intact, an author might consider the following:

  • Is the new focus marketable? Is it a buzz topic in the industry or news, ensuring that the book will sell?
  • Is the new primary audience the biggest following or clientele the author has? As I’ve said before (and so has Jeb Blount), people buy you. That means the author must write in their authentic voice and to the audience that they are in front of.
  • Does the publisher have a history of success in the new area? In many cases, the author is not shifting the focus or audience so much that this will be an issue. For instance, a publisher that sells books to teachers will most likely also have a good record with education leaders too.

When making the case to their publisher, authors should also note any new marketing or bulk sales opportunities to strengthen their case. Publishing is a partnership, and both parties must satisfy their objective.

Good luck!

Positioning Yourself as the Right Person to Write This Book

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A proper book proposal should position the prospective author as an expert or unique voice on the subject. After all, the writer isn’t just trying to convince the publisher to release a book on the subject but to contract the writer to author that book.

When making their case, the writer can include the following information.

  • Credential: Detail their level of education and institutions as well as training (internships, apprenticeships, jobs held) as it relates to the book’s topic.
  • Business: List any keynotes, presentations, or workshops they have put on about the subject. The writer must go on to share the audience size for these keynotes and workshops and how much they charge. Publishers want to partner with authors who can help promote and sell the book. Having a business that the book complements demonstrates that the writer can make a topnotch partner for sales and promotion.
  • Following: Add in social media followers or subscribers that turn to the author for news on the subject. Along those lines, include the location of those followers. Both Tik Tok and Instagram show its account holder what countries their followers are connecting from, which helps the prospective author demonstrate to a publisher that they have international reach. The writer should also share the open rate for their newsletter and emails.

The prospective author must show that they bring a unique and marketable perspective to the book deal.

Good luck!

Communicating Your Vision for Your Book’s Cover Design

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Cover design is one of the most exciting parts of the book production process. Undoubtedly, both author and publisher understand that a well-designed cover draws in readers, and all parties want to be proud of the end result. However, the author and publisher often have differing ideas of what that design looks like.

For the publisher’s part, it wants something that is engaging, complimentary to its brand, visually appealing in person and online, and compliant with any considerations pertaining to licensing of art and fonts. I suspect most authors want the same but often focus their attention on the look and “vibe “of their cover. So, how can these parties each leave the cover design process satisfied?

I recommend the publisher ask and authors communicate their vision. A meeting, email, or cover questionnaire can easily accomplish this. Along those lines, the author should consider:

  • What competing book covers look like—The author should look online, in industry catalogs, or in brick-and-mortar stores. Note the books that are billed as best-sellers or get prime placement (that is, forward-facing in stores).
  • What “feel” they want—The feel can be fun and accessible, authoritative, or something else.
  • What colors the author envisions—The author should note if he or she wants a cover with vibrate shades like red and orange, soft pastels like sage green or cream, or something else.
  • Fonts—Authors should communicate whether they want the title or author name be bigger than the subtitle, whether the main title be larger than all other text, whether they desire cursive or other special looks.
  • Art—Some authors do not want pictures on their book covers while others are indifferent. Others still, may have strong feelings about certain symbols. I once worked with an author who was vehement that her book on motherhood should not use a cover image that focused on a pregnancy bed. To her, images like that removed the woman’s personhood and centered her only as a reproductive agent. Any author who has strong feelings should communicate that.

If authors don’t know what they want or are open to a variety of designs, they have likely made their designer’s day. Who doesn’t like carte blanche to create a stunning visual!

After authors communicate their cover desires, they should trust their partner—that is, their publisher. Any reputable publisher has years—or centuries—of publishing success under its belt. It won’t want to jeopardize that on a slapdash cover that looks inferior beside competitors.

Identifying Your Primary Audience

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Whether reading a proposal or discussing a prospective author’s book idea, there’s a point when my focus turns to primary audience—that is, the customer who will buy the most copies of the author’s book. It is quite common for authors who want their books to reach as many people as possible and undoubtedly to sell as many copies of their book as possible to say everyone is their audience. That is never true and actually paints the author as ignorant to the promotion and sells component of what makes a book successful.

Audience should strike the balance of (1) being large enough to make a book worth a publisher’s time but (2) narrow enough that the publisher knows how to sell it and (3) authors distinguishes themselves in the field. Since most of my career is spent in academic and trade PD publishing, I would urge authors who want to work with me to consider the following when determining their audience.

  • Who is the current captive audience? That is, what organizations, firms, schools, or other client are paying the author for keynotes and training—and renewing contracts for additional workshops? Who comprises the author’s social and professional network (i.e., academics, system and school leaders, or someone else)?
  • What audience will the author be presenting to in the coming 1–2 years?
  • What conferences is the author attending or panels is the author sitting on?

The answer to these questions = the primary audience. Anyone else is ancillary.

If the first book finds success, the author is welcome to focus the next book on this secondary audience.

Optimizing Online Presence to Attract Trade Publishers

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I’ll begin with a quote by bestselling author Jeb Blount (2010): “People buy you.” In this case, people encompass acquisitions editors—the party a publisher tasks with signing new authors to books that support publisher goals. Before an acquisitions editor invites a prospective author for a meeting or to send a book proposal, they will likely do an online search to see what they can learn about you and your work.

A few of the things I look for:

  • Publicity about the prospect—I consider, “Is the author mentioned in professional or local news stories? What is the context?” Prospect authors should do online searches for themselves to see what information presents itself. I do not care if you’re divorced, but I do care if you’ve been given an industry award. I want to sign content experts.
  • Personal or professional website—I look for a bio, upcoming speaking or training events, prices of those events, and list of speaking or research topics to name a few. I look to see whether the author is affiliated with any professional organizations, schools, or individuals whose support can help book sales. A prospective, or even published, author would be wise to include these elements. They should keep the information up-to-date to accurately reflect themselves.
  • Social media—I look at the author’s following, frequency of posts, follower engagement with posts, and more. Again, I want to know if there is an audience that would support the book. Along those lines, I also want to see if there are any red flags that suggest the author is not a good fit. Those flags entail posts that suggest the author’s passion no longer lies in the direction that I am interested in pursuing, posts that harass others online, or similar.

Online presence is an easy vehicle for self-promotion.

Citation: Blount, J. (2010). People buy you: The real secret to what matters most in business. Hoboken, NJ: Wiley

Choosing a Publisher for Your Book

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So, you have a book proposal (or a complete draft manuscript), and you’re ready to submit it to a publisher. With thousands of publishers all proclaiming that they can help a book find success, how do you know which is a good fit for you?

Drawing on my experience with scholarly and trade publishers, I encourage you to ask yourself the following questions to find the best home for your book.

  • Who are you reading for books on a similar topic? Consider who publishes the books you cite in your own work and who’s publishing the leading voices in the field. That’s a good indicator of the publisher’s interest. Publishers are strategic; it’s safer to market to their captive audience—an audience that trusts their reputation—than taking a risk on a first-time author writing to a new audience.
  • Who is the target audience? Many academic presses publish for scholarly readers; these books tend to be niche and written to advance the field of research rather than entertain the masses. Academic presses consider proposals from academics who have the credentials, resumes, and unique perspective to contribute to the field. A commercial trade publisher, however, generally caters to the general interest reader. While they still consider the author’s expertise and unique perspective or story, they often consider author platform and whether the author has an agent. When acquiring in a scholarly press, for example, I didn’t look at a prospects number of followers; but I definitely do as an editor for my trade publisher. In the latter case, I want an author who can promote their book to their followers while I support my publisher pitching the book to our retail partners.
  • What business model complements your platform and objectives? There are traditional publishers that take on the responsibilities of book production, marketing, and so on and pay authors royalties but rely on authors to help promote their books. Others offer to publish the work and book an author for professional development, which might be great for an author with a small profile and limited reach. Those with thriving businesses or consulting services might bristle at this arrangement. And of course, there are self-publishing models that charge an author for all expenses incurred or leave it to the author to arrange cover design, developmental and copyediting, and so on.

As an author, you have to know what your bottom line is. Once you generate a list of publishers that are a good fit, send your proposal to them all according to their book proposal requirements.  

Here’s a bonus for the academic author:  Visit the Association of University Presses (https://bit.ly/3X91dXI) to access a subject-area grid that lists academic presses and the subjects they publish in. The list is usually updated yearly.

Good luck!

Getting Past Imposter Syndrome for New Authors

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During a staff meeting, my colleagues discussed several newly signed authors who were hesitant to send in their draft manuscripts because they feared the content wasn’t good enough. They were missing submission deadlines and fretting over the layout and direction of their manuscripts. These authors concerned were perfectly reasonable—and to expected—from new authors.

However, my colleagues told their authors the same thing I tell my own. While we are not psychologists and can’t replace the work they do, we do have a bit of experience coaching insecure authors. That means reminding nervous authors that:

  • Authors are content experts whose been working in the field for years. They have a reputation of delivering quality research and work that their followers and industry sources trust, and that’s why the publisher believed in them enough to sign.
  • The editorial staff is an author’s safeguard. We employ project managers, developmental editors, copyeditors, peer reviewers, and more to ensure the content and quality of our authors’ work are top-shelf.
  • Authors aren’t going it alone, so they should take advantage of their publisher’s resources. Send ideas and sample chapters in for feedback and let the editor be their reality check
  • Authors should step away when feeling overwhelmed and reconnect with the “why” of their book. Who is the audience, what does the author want to communicate, what prior knowledge does the reader have, and what is the goal? Asking oneself these questions will help the author from becoming overwhelmed.

I guess my overall message is stop expecting perfection and embrace that you’re dope.

Good luck!