First up:
Nice Dragons Finish Last is on sale for $0.99! Hooray!! If you've been waiting for a chance to try the series (or if you want to get someone else hooked!) this is a great chance to do it on the cheap ;).
This is where the books live! Get you one!
Also, I was on
Aldus Baker's podcast this week talking fiction! He asked a lot of really great questions about my Heartstriker books, so if you're interested in a behind the scenes look at Julius, Marci, Bob, Chelsie, and everyone else came to be,
give it a listen!
Now, on to the post!
Writing Wednesday: The Four Things You Need to Sell a Book
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| You clearly need more books! Have you tried mine? |
Warning: this is a post about selling books.
I know it might not sound like an issue of craft on the surface, but the stuff I'm going to be talking about today relates very strongly to good writing. Now, obviously, if you're still writing your book, you don't have to worry about any of this yet, but if you have a title out there, or you're planning to someday, this post contains what self-publishing has taught me about how people buy books and how I can use the skills I learned as a writer to improve my sales.
Pretty much any article you read about modern authorship--self-pub or trad--talks about the recent change of the author's role from sheltered artist to promotional machine. Personally, I think this argument is a little disingenuous. So long as books have been sold for profit, authors have
always been expected to help promote their own work to increase sales, often at their own expense. But while the author as salesman/woman is hardly a modern invention, the truth of the matter is that--no matter
how good you get at selling yourself and your books--the vast majority of the people who buy and read your books over your career will never know (or even care) who you are.
*record scratch*
I know, I know! How can this be? We've all heard how an author's name brand sells books, just look at any big bestseller like Stephen King or Nora Roberts. But while it's true that the really big best sellers can move titles on name alone, the opposite is actually true for smaller and midlist authors. Those of us who can't yet sell a book on name alone have to rely on other factors. Marketing can definitely help with this by getting your book in front of more people, which is why authors spend money on it, but even the best campaigns will only ever reach a fraction of your total audience.
Self pub or trad, this is the reality of publishing for the vast majority of authors. Until you become a household name, most of your readership will never have heard of your book until they see it randomly on a shelf at a bookstore or in an Amazon list. One glance, that's all we get, and it is in that moment--that second when your unknown, often busy and distracted customer's eyeballs land on your book for the first time--that makes the difference between a successful book and a flop.
If that sounds overly harsh, welcome to sales! You can write the best book in the world, but if you can't catch the attention of a busy, tired, grumpy reader and convince them to take a moment and discover your genius, it's all for nothing. But do not despair! This is a problem for everyone who tries to sell things, and while no one's figured out the absolute key, for books at least, there is a very good pattern to catching and keeping reader eyeballs, and it goes like this:
Cover, title, blurb, first pages, in that order.
Now, I am most definitely not the first author to realize this. Plenty of
very successful authors before me have already pointed out that this pattern is pretty much the universal blueprint to selling books. This isn't to say that these four things are the most
important parts of a book, but they are the four things that readers notice first, and this makes them the four most important things when it comes to
selling your book, which is what we're talking about today.
To see why this pattern works, think about the last time you bought a novel by an author you didn't know. Chances are, you saw the book on a shelf or online somewhere, and you were drawn in by something on the cover. Next, you looked at the title, which was probably also interesting or hooky in some way. The combination of these two led you to pick up/click on the book and read the back/blurb, which, if you didn't put it back down, was probably also pretty cool, or at least intriguing. At this point, you're almost sold, but you want to make sure the writing is up to snuff, so you flip the book open/click on the sample and read the first few pages. If these are good as well, that book is sold!
This pattern is the natural progression of a sale, and it's why the Cover-Title-Blurb-First Pages pattern is the way it is. Even if the rest of your novel is horrible, if you knock these four things out of the park for your target reader, you will probably sell a lot of books. Of course, if your book actually is horrible, you won't sell any more books, but you get my point. By perfecting each part of the reader's natural book browsing pattern, you vastly improve your chances of catching their attention, even when you've only got a second to make an impression.
At this point, you're probably thinking "Wow, Rachel, that's super obvious." You're right. It is super obvious when you think about it, and that's exactly the problem, because so many authors don't.
I have seen authors who will spend a year perfecting their manuscript and ten minutes on their cover. I have seen big publishers who will give a book a fabulous cover only to turn around and write a shitty, sloppy blurb. I have clicked on novels in Amazon sidebar ads because the cover, title, and blurb all looked amazing only to lose all interest because there was a typo in the first paragraph, or because the opening of the story was just boring.
Each of these screw-ups leads to lost sales, because each step of the process--the initial interest created by a good cover and fueled by a clever title, the excitement generated by a good blurb, and the final punch of a fantastic opening page--is a decision.
Readers are busy. They don't know us, and therefore have no reason to cut us slack or take a chance on our work. It's our job as commercial authors--people writing books specifically for sale--to show readers that our stories are worth taking a chance on at every step of the book buying decision. It's up to us to catch and hold the reader's attention until our stories have a chance to drag them in, which is why I'm continually amazed by how many otherwise extremely smart authors and publishers screw up or just plain ignore these four fundamentals elements of bookselling.
We get it, Rachel. This stuff is important. So how do we do it right?
This is where things get tricky. Then answer to "What makes a good cover/title/blurb/first pages?" varies according to your book's tone, genre, and what kind of reader you're aiming for. Cozy mysteries will have different selling points than gritty Thrillers, and so forth. Part of being a successful author is knowing what makes your story interesting to your audience and then figuring out how to convey that through your title, cover, blurb, and so forth.
But while there is no universal answer, there
are a few basic rules to the cover/title/blurb/first pages game that apply across the board regardless of genre, or even if you're writing fiction vs non-fiction.
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| Readers be like |
- Be interesting - no matter what genre you're writing, boring is the kiss of death. Anything you put in or on your book should always be of interest/appealing to your target audience, or why is it there at all?
- Your cover/title/blurb/opening pages are for the READER, not for you - This is probably the hardest one for authors, especially when it comes to titles. But tempting as it is to give your book a title that is deeply meaningful to the story, that's not the point. The title isn't there to be meaningful AFTER someone has read your story, it's there to make people want to read your story in the first place. The same goes for covers and blurbs and so on. These are sales elements. To properly do their job, each one must be interesting and hooky in its own right without the help of the larger story. Obviously, this doesn't mean your title/cover/etc should be unrelated to the book. You still want it to make sense! But I can't tell you how many authors I see shooting themselves in the foot by giving their book a long title that's super meaningful in context, but dull or even nonsensical on its own, thus defeating the entire point of a good title. The only exception to this rule is for later books in a series where you can use previous reader knowledge to make the title cool, such as naming the book after an already beloved character. In general, though, anything you use to hook a reader needs to be able to be cool all on its own.
- Invest in Your Success - You spent a long time writing this book. Don't hamstring your success by getting sloppy once that it's done. I'm not saying you have to spend thousands of dollars on a custom cover, but it makes no sense to spend a year or more getting your book perfect if you're just going to thoughtlessly slap some stock art and stock fonts on the front and call it a day. Your cover/title/blurb/first pages are the face your book presents to the world. They should be even more carefully considered than the rest of your novel. Don't rush to market. You only get one chance to launch a book for the first time, so don't be afraid to slow down and invest the time and (if you're self publishing) money needed to do the job right.
- Know Your Reader - As I said at the beginning, what makes a great cover/title/blurb/opening pages depends on your book, your genre, and your audience, but it's up to you to know what that audience wants. Whatever genre you write in will have certain conventions that readers expect, and whether you're bucking them or aiming to give readers exactly what they want, your selling points still need to be placed within that context, because that's the framework your reader is operating inside. In other words, if you're writing Romance, it has to look and sound like, or at least reference, what Romance readers expect. If you don't do this, you run the risk of losing readers simply because they didn't have the cues to realize that your book was the kind they were looking for. You can't get readers if they don't know to look at your book, so make sure your book looks like what it is. It's always good to stand out and do something different, but if the cost is having your book look so different people think someone stuck it on the wrong shelf, that's just as bad. Readers come in looking for a certain kind of book experience. If you can show in your cover/blurb/title/first pages that your book is exactly what they're looking for, but also new and awesome in its own way, that's the best of both worlds.
Now, obviously these are all elements that you'll have a lot more control over if you're self-publishing. (You also have enough rope to hang yourself, but that's the price of doing it on your own!) But even if you're going the traditional route and your publisher is the one making the final decisions on your cover/title/blurb and so forth, it's still your job to speak up if you think they're making the wrong choice.
I'm not going to lie: this can be terrifying, especially if you're a newly signed author, but that doesn't change the fact that this is your book. No one wants to be "that author" who makes a fuss, but at the same time, no one will ever care about your book's success more than you do. This is your career, and you'll be the one on the ropes if this book doesn't meet sales expectations. So if you feel your publisher is making a bad call on any of these vital four sales points, bring it up.
You don't have to be confrontational (in fact, it's better if you're not), but that doesn't mean being silent. Don't be afraid to ask why your publisher made the decisions they made. They probably have very good reasons--they want to make money on this title, too!--but you'll never know if you don't ask. Worse, if the book does end up flopping because it had a terrible cover, you'll carry that for the rest of your career, and that's far too great a risk to take on just to avoid feeling uncomfortably now.
Remember: you're the writer here. This whole enterprise depends on you. You might not be as experienced at book selling, but you know your story and your audience. That is valuable insight, don't let anyone discount it. Even if they shut you down, it's better than knowing that something was wrong, and you said nothing.
Thank you for reading another installment of
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Thank you again for reading, and as always, keep writing!
Yours,
Rachel
