Self-Publishing #10 — Marketing

The final post in this Self-Publishing series is bursting with links! I’ve categorized the most popular marketing opportunities and listed links to resources for more information in each category. Your Mileage May Vary. Note that not every resource is author-specific, but all should have at least a few nuggets of relevant advice.

When possible, I’ve included free* or low-cost marketing options. However, it's often the case that the most effective marketing is either paid advertising, which can get expensive, or sinking time into building a “street team” (artificial “word of mouth,” if you will), a strategy with its own costs and benefits. Not everyone with advice busts out the numbers, but if you read enough posts on book marketing, you’ll come to realize that a book launch/hype strategy will basically boil down to the size of your budget rather than the speed of your hustle. A fast hustle is still worth it (and experience often breeds success and efficiency), but it only gets you so far.

Self-Publishing #9 — Social Media

Social media is hot topic among authors, whether traditionally published, self-published, or somewhere in between. Should authors be on social media? Which social network will do the best job of connecting authors to readers and of getting the word out about our books? What’s the best way to utilize the most popular social networks? What’s not the best way?

I don’t think most authors would claim to be social media savants, myself included, but I’ll do my best to get you started, so let’s tackle those broader questions one at a time.

Should an Author Be on Social Media?

Yes. And no matter your thoughts on authors who have traditional publishers backing them up with a marketing budget or authors who have the budget to hire a publicist, you can’t disagree with this one fact: many of your readers are on social media. If you want to find potential readers and tempt them with your book, you have to be on social media, too.

Why I Wrote "The Fisherman's Widow"

The Fisherman’s Widow, while not a romance, is about love. It’s also about grief, and what grief does to us. When I first got the idea for The Fisherman’s Widow, I anticipated a Lovecraftian short story wherein I would continue to explore writing horror. Quite admittedly, I would also try my hand at tentacle porn. (Let’s call it what it is.)

But right around the time Eidolon released and the first draft of The Fisherman’s Widow began, I unfortunately had become closely acquainted with grief, and what it did to me specifically. Thus, The Fisherman’s Widow turned into a much more personal project than I ever intended—a longer one as well, hence it being a novella.

Self-Publishing #8 — Author Website

Do I Need an Author Website?

YES. YES, YOU DO. At the very least, you really don’t want the most obvious domain name to be claimed by someone who may misrepresent you or exploit your readers for their own gain. Maintaining control of a domain name is not a big yearly expense and can save you a great deal of mental and financial stress down the road.

At its best, a slick website is a great marketing tool and provides a way to connect to your readers. It also helps you maintain a consistent author brand, showcase your writing and personality, build up your newsletter list, create hype for upcoming releases, provide extra content surrounding your well-ordered backlist, and so much more.

Where Do I Start?

You have so many options, and most of them boil down to your budget and how involved in the design and maintenance you wish to be.

Self-Publishing #7 — The Legal Stuff (Business Licenses, Copyright)

Disclaimer: I Am Not a Lawyer

Nothing in this week’s post should be taken as legal advice. If you have an intellectual property question, a tax question, a contract question, or anything else of the sort, consult an attorney. Also, this post will be extremely US-centric.

Much More Comprehensive Legal Resources for Writers/Self-Publishers:

Writing is a Business, Especially for the Self-Publisher

Even if you’re only traditionally published, your writing career involves contracts, sales, royalties, expenses, tax returns, defending your copyright, and more. For the self-publisher, many small but important jobs quietly taken care of by a traditional publisher, such as paying contractors, buying ISBNs, or sending out DMCA claims against book pirates, now has to be done by you.

Self-Publishing #5 — Distribution and ISBNs

Distribution Paths

How a self-publisher distributes their book will boil down to one or a mix of four options as outlined by Jami Gold in her two-part series on Fiction University: here’s part one and part two.

As Jami notes, taking that last option means not selling your book anywhere else. I won’t go into detail about the pros and cons of each distribution option—I can’t say it any simpler than Jami does—but here are some of the questions you should ask yourself:

Self-Publishing #4 — First Draft to Final Product (Cover Art)

The Importance of a Good Book Cover

Your book cover is a marketing tool. One could argue it’s the one of the most important tools because it’s practically the first layer of sales messaging.

Fine-tuning your metadata, choosing the right social media hashtags, and pursuing advertising opportunities are marketing tools for reaching your target audience. Then once you have their brief attention, it’s the job of your cover art and book description to entice potential readers looking for their next fix.

A caveat: depending on how you got a reader’s attention, it may be a logline or tagline that needs to do the enticing. For example, a Twitter user might see your sales tweet via retweet from an author they follow, but sometimes attached media (i.e. your book cover) is hidden, so it’s the text of your sales tweet that will need to win them over. (140-character tweets are limiting, I know. Oh, do I know.)

Anyway, unless you can boast significant author name recognition, your cover art is otherwise doing the talking most of the time. And a well-designed book cover will entice more potential readers to glance at your book description than a poorly designed one.

Understanding the Basics of Cover Design

Whether you hire a professional designer or bravely decide to go it alone, you should educate yourself on cover design basics before going down either route.

In Defense of “Indiana Jones & the Kingdom of the Crystal Skull”

1981’s Raiders of the Lost Ark introduced the world to adventuring archaeologist Indiana Jones. It leveraged the style of the serialized adventures from the ’30s and ’40s, and had a great excuse for bringing the audience along to various non-Western locales. Jones has the gumption and historical knowledge to be the only good guy who can stop the bad guys from using a powerful object for evil, but he’s still an “everyman” who can get injured, tired, and tricked. We loved Indiana so much—as in, the film made so much money—that two more films were made that decade: Indiana Jones and the Temple of Doom (1984) and Indiana Jones and the Last Crusade (1989).

Let’s jump ahead to nearly twenty years after Last Crusade‘s release. I’ll not defend the decision to revive the Indiana Jones franchise with 2008’s Indiana Jones and the Kingdom of the Crystal Skull—because what else is Hollywood good at besides milking their cash cows—but I’d like to assert that the recent installment is pretty much a perfect Indiana Jones movie that everyone should’ve embraced heartily if they loved the first three so damn much.

Let’s first lay out the required elements for an Indy film. Then we’ll dig into how well those elements were executed. Last, we’ll talk about peripheral decisions that people criticized, such as casting choices.