Want to Profit as an Author? Think About Sponsorships

20 February 2015

From Publishing Perspectives:

There are two kinds of people: those who say “I’m going to write a book” and those who don’t. Among those who do, there are two kinds of people: those who actually write the thing and those who don’t. Among those who do, there are two kinds of people: those who make a decent living from the thing and those who don’t. Multi-hyphenate impresario Lynn Isenberg’s new book Author Power, published this past December, wants to see to it that many more of those who make it all the way to writing a book join the ranks of those who make a living from their books. How? Author Power proffers a further culling: among those who say they want to make a living from their books, there are two kinds: those who say they do and those who really mean it.

. . . .

And, truest of truisms, one must spend money to make money.

“You should plan on…basic hard costs…editing, cover design, website…some social media…this is regardless of whether you do it yourself or you go through an author services company or partner publisher…That means that before you’ve been published, you will be in debt.”

. . . .

Author Power is about working in partnership with brands to cover these costs and more and create limitless opportunities for your intellectual property.

Brands? Limitless opportunity for IP?

“But before you can approach the brands, you’ll need to make sure you’ve positioned yourself and your brand with leverage…Leverage. Leverage. Leverage. If “brand” was the word for the first decade of the 21st century, then “leverage” is the word for the second…What can you leverage to make your book stand out? What assets have you created to build your case for attracting attention to your book? Why would this be a good idea for a brand…to come on board?”

. . . .

An author begins, manuscript half in hand, half in mind, by knowing, it must be assumed, something about something. The “power,” then, accrues to those authors who can leverage that something to gain exposure, to define an audience, to define themselves and to define a setting. These combine to become actual marketable assets, i.e., cash in hand to the intrepid who can summon the wherewithal to pick up the telephone and engage with marketers who, in fact, are always on the lookout. Author Power reveals no actual secrets; the book describes in richly intimate detail how a rather delightful fictional character mushroomed from an idea to a series of three novels, then to a star-powered web series and a movie development deal, then zigged into a consulting business and, finally, zagged into a 300-page how-to packed with hard numbers, real names, fearsomely honest commentary and firestarter action plans.

. . . .

No product placement primer, this; Author Power delves into the heart of the write-your-own-ticket world of brand integration:

“‘product placement’ in books goes back to 1873 when ‘transport and shipping companies lobbied to be mentioned’ in Jules Verne’s adventure novel series Around the World in Eighty Days. No records reveal if he was actually paid or not. Ironically, it’s widely believed that Verne’s book was inspired by media advertisements for Thomas Cook’s tour around the world…With the advent of e-books and hyperlinks, integrating brands into the storyline is more possible. The key is staying true to the characters and separating church and state…and in knowing how to identify, create, leverage, close, and deliver such opportunities with integrity.”

Bacon says knowledge is power. Ms. Isenberg says brand knowledge is power. But what, precisely, is an author’s “brand”? What does it profit a consumer goods brand to associate (and pay for that association!) with an author’s “brand”?

. . . .

Author Power shows authors the art of The Ask. Your female spy-hero is also a scratch golfer? Calloway Golf might just love to offer your books for sale on its web sites, might just love to see to it that a stack of your books sits next to their top-line ladies gear in shops across the world—provided your hero tees it up with her new Callaway X2 HOT driver while wearing Callaway NEOX shades.

Link to the rest at Publishing Perspectives and thanks to Eric for the tip.

The Two Sides of SEO for Book Publishers

18 February 2015

From Digital Book World:

Here’s a scenario: A reader hears about a book you publish from someone they trust. They decide they want to buy it and read it. So how do they find it? It’s possible they go directly to their favorite bookseller (let’s assume this is all happening online), find it there and buy it. Awesome, you just sold a book.

However, many other readers will go to their favorite search engine and search for the title, the author’s name or both. The question I have for you is this: Where does your book page show up in the search results when that happens?

. . . .

If links to your pages aren’t in the first couple of positions on the first page of the search results, the chances of someone clicking on them are pretty slim. And if you’re not on the first page, you have basically zero chance of getting the click.

. . . .

I’ve heard publishers say it’s impossible to compete with the bigger sites whose pages come up at the top of the search engine results pages (SERPs) in book searches—like those belonging to Amazon, Goodreads and Barnes & Noble. I’ve heard that they are just too big and popular. I’ve heard that their search engine optimization (SEO) is just too good, if not perfect. And I’ve heard these things lots of times.

But none of that is true. You can compete with the bigger sites. They are not too big or too popular. And contrary to perhaps the biggest misconception of all, their SEO is far from perfect.

. . . .

SEO has two sides to it: what I call the ‘mechanicals’—on-site elements that search engines look for—and the ‘content envelope’—all the available off-site content about your site and your products, like book reviews, blog posts, videos, social media posts and all the other content that envelopes your site.

You don’t have full control of the content envelope. If you had a really outstanding content generation and social media program you might gain a little more. But you really can’t control everything that happens outside of your site.

On the other hand, you have complete control over your site—after all, it’s yours.

That means you can shape the mechanicals entirely as you wish. Search engines are fairly explicit about what they are looking for when they crawl and index your site. Of course, they don’t tell us everything, but we know enough to be able to ensure your site itself is highly optimized. And just by focusing a little effort on the mechanicals you can start showing up at the top of the search results. Above Amazon, above Goodreads and above Barnes & Noble.

Link to the rest at Digital Book World

PG is always interested to read SEO articles directed at publishers. Like this one, they are kindergarten level discussions — for 2002.

PG would love to see some quality studies of the online habits of those who purchase books regularly. He would bet that Amazon, not Google, is the most popular search engine for books.

Google is king of almost everything in the search world, but if someone is purchasing books on a regular basis, it’s difficult to believe that they wouldn’t prefer Amazon where you can find the book and buy the book at a low price instantly.

If publishers are not going to spend significant money to build a really good ecommerce experience with good prices — a mini-Amazon that directly competes with Amazon and all the other online and offline booksellers — PG wonders why they care about search traffic when readers search for the title of a book.

If publishers are doing SEO to send search traffic to their retailers, that’s fine, but they’re going to run into complaints from retailers who aren’t included in the SEO program. Plus, it’s hard enough to do successful SEO when you directly control all the online content. Putting together an SEO program that involves multiple third-party retailers and actually competes with Amazon is a really, really difficult challenge.

Finally, if you want to beat Amazon in the Google search rankings, you have to spend serious cash to hire real SEO executive talent and pay substantial amounts of money to one or more outside SEO service providers. And even then, you might not be able to do it.

UPDATE: PG just took a tour of the websites of the major New York publishers. They’re about two trillion miles away from platforms that would support successful SEO.

Simple Promo Tip: Call Your Book By its Name

15 February 2015

From Writer Unboxed:

It’s a funny thing, being both the creator of such an intimate and personal product as a book and the one who has to do most of its peddling.  This contradiction — asking authors to throw what’s often deeply private smack into the public realm for commercial purposes — can have strange effects on behavior.

Some of us may find ourselves at a loss for words when we’re asked what our book is about, even if we’ve recited our elevator pitch one-line description a thousand times.  Others may blush, or lower our gazes and voices when speaking about our WIPs.

None of which helps us put our best foot forward — especially from a publicity perspective.

Then there’s the title.  Time and again I’ve seen even the most experienced authors make what I consider to be a big publicity faux pas.  It happens at readings, on conference panels and in casual conversation.

It can be summed up with these two simple words. “My book.”

That is, referring to the book they’re talking about, amorphously, as “my book.”

Each time, I cringe.  “Doesn’t it have a name?” I wonder, “A title?  Something to give it an identity beyond: ‘a very personal endeavor I’ve slaved over for years that’s become inseparable [from] my very existence?’”

. . . .

Always refer to your book by its title.

Or by an abbreviation of the title if it’s long.  Especially when addressing a group.

Link to the rest at Writer Unboxed

Who will miss Jon Stewart most? Book publicists.

12 February 2015

From The Washington Post:

Tuesday night, when Jon Stewart announced that he would be stepping down from “The Daily Show,” millennials across the country were shocked and saddened.

But book publicists were crushed.

In an increasingly fractured market, “The Daily Show” has been a singular platform for authors to promote their books.

. . . .

“Getting an author booked on ‘The Daily Show’ was often the Holy Grail for book publicists,” says Kate Lloyd, Scribner’s associate director of publicity. Her authors loved Stewart, she says, because “his audience is made up of smart, book-buying readers who respond to the thoughtful treatment and authentic passion he customarily expresses for the books he features.”

. . . .

Elizabeth Riley, senior director of publicity at W.W. Norton, calls Stewart “the intellectual author’s Oprah.” Riley says being on “The Daily Show” is “the dream interview every serious nonfiction writer mentions during that first strategy meeting. And there’s a reason for this. We just had Sarah Chayes on the show last week for ‘Thieves of State,’ and sales leapt up significantly from the week before. What other show could do that for a book on global corruption?”

. . . .

Publishers love to sell more books, of course, but Paul Bogaards, executive vice president of Knopf Doubleday, notes that Stewart’s influence has been more significant than the raw sales numbers suggest. “Publishers don’t have a lot of substantive broadcast booking options for authors,” he says. “The value of Jon Stewart welcoming writers on his show, giving them a platform and making them a part of the conversational mix was quantifiable in this sense: He elevated the work of authors, made books relevant to a younger demographic. And that demographic remains challenging for publishers to reach, at least en masse.”

Link to the rest at The Washington Post

Beyond $0.99: New tips on ebook price promotions

10 February 2015

From Gigaom:

The days when a single Kindle Daily Deal could catapult an unknown book up the New York Times bestseller list are probably behind us now. And big publishers are experimenting more and more with price promotions, so that a super-low price on a self-published ebook isn’t enough to help it stand apart. So as more and more and more ebooks are published, how have the mechanics of price promotions changed?

. . . .

It’s all about the shopping cart

The “cart” is an obvious feature of online shopping — but hasn’t always been a huge part of shopping for ebooks. If you’re reading on an e-reader, for example, you might be buying books one at a time. But Kobo learned the value of the cart at the end of the last year, when it added the ability for customers to buy several books simultaneously. In December the company ran a 3-for-2 ebook promotion for the first time, with great success.

“It was a price promotion, but it was really interesting because of what people were buying,” Nathan Maharaj, head of bookselling at Kobo, told me. “People were loading up on full-price ebooks, then often taking one that was already promotionally priced and dropping that in their basket, and that was the one they got free” — for example, buying a $14.99 ebook, a $15.99 ebook and a $2.99 ebook, with the $2.99 free. It wasn’t a “fight over how low can you go. This was completely different.” The promotion seemed to appeal to a different kind of customer — those who “haven’t been playing the cheap game very much.”

. . . .

Nonfiction is hard, but keep trying

Ebook price promotions are largely geared toward readers of fiction. “We’ve had some miserable luck with nonfiction” price promotions, Maharaj said. “My hunch is the nonfiction reader is differently oriented toward their reading material. Price is less interesting to them than, ‘Is this information I need now? Is this how I rule the dinner party? Do I need to master these concepts?’ … There’s a shift in emphasis in how the customer values it, but that’s a wild guess.”

At the same time, ebook price promotions are also less common for nonfiction. “If that’s your preferred area, it’s not a really good investment of your time to pay attention to things like daily deals and price promotions [because] the good stuff tends not to come up too frequently,” Maharaj noted.

Link to the rest at Gigaom and thanks to Dave for the tip.

Amazon Giveaway – The First Self-Service Giveaway Tool

10 February 2015

From The Amazon Media Room:

Introducing Amazon Giveaway, a new self-service tool designed to modernize the time-tested radio giveaway. Today, people are more likely to encounter giveaways on Twitter, YouTube, Instagram and Facebook, where the word “giveaway” is used more than a million times every day. Everyone from authors, aspiring artists, non-profits, brands, bloggers, social media gurus and more, can now use Amazon to create a giveaway, choosing prizes from millions of eligible physical items. Amazon Giveaway is an intuitive tool that allows anyone to create and host their own giveaway, to generate awareness and reward their audiences.

“The idea of running giveaway promotions is easy. They are a really effective way to attract attention and build engagement, but giveaways often come with hidden costs and complexities which makes the reality of running one hard,” said Steve Shure, Vice President Consumer Marketing. “Amazon Giveaway is the first self-service tool that takes care of all the hard work of a giveaway, from setting up all of the rules to shipping prizes directly to winners.”

. . . .

Anyone who wants to host a giveaway can get started at or simply visit Amazon to find the eligible item they would like as a prize and click “Set up a giveaway” near the bottom of the product detail page. From there, the host determines the giveaway details, enters custom content and decides whether prizes will go to many entrants or to the first few entrants. Hosts receive a unique link that they can share with their audiences how, when, and where they choose.

Eligible prize items are shipped and sold by As many as 50 prizes can be awarded per giveaway, with a total value of up to $5,000.

Link to the rest at Amazon Media Room

Pivot Post Update

4 February 2015

From author and TPV regular M. Louisa Locke:

Recognizing that the Kindle Unlimited subscription service on Amazon was undermining the effectiveness of the Kindle Countdown 99 cent promotions for my books, I decided to:

  • take my 3 full-length novels in my Victorian San Francisco Mystery series (Maids of Misfortune, Uneasy Spirits, Bloody Lessons) and my short story collection (Victorian San Francisco Stories) out of KDP Select
  • upload these 4 books into other bookstores
  • make the first book in my series, Maids of Misfortune, perma-free
  • advertise Maids of Misfortune as free through a BookBub promotion.

By the middle of January I accomplished all of these goals.

  • I uploaded my 4 books to Apple, Nook, Kobo, Page Foundry, and Scribd through Draft2Digital (a simple process of uploading a word document), used the epub that D2D nicely gives you to upload to GooglePlay, and stripped my word document down to upload it to Smashwords to distribute to several library affiliates and Oyster.
  • Within 3 days of Maids of Misfortune showing up free in other bookstores, Amazon price matched, and it was now free everywhere.
  • January 11, 2015 I had a BookBub promotion of Maids of Misfortune.

Reported Outcome:

There has been a dramatic improvement in my sales and therefore my income.

. . . .

As you can see, even before the BookBub promotion in mid-January, making Maids of Misfortune free had begun to give the other books a boost on and off of Amazon, but the BookBub promotion was what really made a difference in my sales.

Two weeks after that promotion, Maids of Misfortune was still listed in the top 100 Free books on Kindle, ranked #5 on the Nook’s Free list, and #27 in Free mysteries on Apple. In addition, there have been a nice increase in positive reviews for this book on Nook, Apple, and Amazon.

During these two post-promotion weeks, the increase in sales of the other books in the series demonstrates that people who downloaded Maids for free are going on to buy the next books.

For example, on Amazon the average number of copies sold of Uneasy Spirits (Book 2) went from 1.5 a day in November, to 2 a day in January before the BookBub promotion, to 13 a day in the two weeks since the promotion. The average number of sales of Bloody Lessons (Book 3) has gone from 2.2 a day in November, to 2.8 a day in January before the promotion, to 11 a day in the post promotion period.

. . . .

Will it work for everyone? Probably not. The whole perma-free strategy works best with series. And one of the reasons I hadn’t tried this approach before is that with only 3 books in the series, the long-term loss of sales of one of those books seemed too risky—particularly when short-term discount promotions were working for me. The eminent publication of a fourth book in the series made the shift less risky.

While I was achieving some success in downloads and sales before the BookBub promotion, the effect was limited. So I know that one of the reasons for my success was getting the Bookbub promotion. I am always good about filling out their post promotion surveys––not just so that they have the data to judge when I next apply––but also because I hope this will make them more likely to accept other authors with similar books following similar marketing strategies.

Link to the rest at M. Louisa Locke and thanks to Liana for the tip.

Here’s a link to M. Louisa Locke’s books

Bookbub Q&A

4 February 2015

From Kboards:

Hi Kboards!

. . . .

Here’s a brief bio of each person from BookBub participating in the chat (written by Morgan, our Account Manager and wittiest team member):

Mel is an Account Coordinator who used to love sick beats, but now just likes music, as Taylor Swift has trademarked that phrase.

Katie is our fearless Director of Business Development. She’s been with BookBub almost since its founding! She strongly dislikes being cold, but likes blankets, so that kind of works out.

Craig is an Account Coordinator who likes rowing, preferably in a rowing shell he carved himself from old-growth redwood. He’s excited to be here, though he’d be even more excited if BookBub opened a sunny San Francisco office…

Sonja is an Account Coordinator here. She’s been with BookBub since August 2014. She also knows how to code, which makes her teammates feel like they really should have paid more attention in college, or at least they should have taken that “How to Computer” summer seminar.

Carlyn is the newest addition to our team. She’s a recent college grad with a sunny disposition, which means she’s got about two more Boston winters until she turns into one of those grumpy old Muppets like the rest of the team.

. . . .

Q. Thanks for hosting this Q and A. Will BB be expanding into any more additional markets as they have been this past year?

A. We just expanded to Canada last week!! And we’re certainly hoping to expand to more English-speaking markets over the course of this year. Right now we’re thinking about Australia, India, and South Africa. Are there any countries or regions you’d like to see us add?

. . . .

Q. Thanks for doing this. I really love Bookbub and run as many ads as I can with you. I often tell you in my comments that I wish I could run an ad for each of my books more often than every six months (since Bookbub is a huge source of income, directly and indirectly, for me). My questions: any chance you might change that policy to, say, every four months for repeat books that have sold well?

A. Great to hear you’re happy with your BookBub ads! I can answer your question about the 6 month policy. There’s a couple reasons we have to limit how frequently a book can be promoted. First, in order to keep our subscribers happy and engaging with BookBub, we’ve found it’s important to offer a variety of books and authors. We also want to wait until there are enough new subscribers in a category so that your promotion isn’t reaching the same people–we used to promote books more frequently, and saw a decrease in success of the repeat promotions.

. . . .

Q. Why do you turn down a book that has been free in the past, for a discounted paid ad? I can understand if you don’t want to feature a book for free that has been paid in the past because then your subscribers would say, “Hey, I paid $1.99 for that book 6 months ago, and now it’s Free.” But I don’t see why a book that has been Free a year ago, can’t be listed for $.99.

A. Hi there! We promise our subscribers the best deals available, so we don’t feature books that have been more heavily discounted in the past 3 months. So if a book was free for a week in January, we wouldn’t promote until it had been back up to it’s original price for 3 months (although we do feature permafree books). Hope that makes sense!

Link to the rest at Kboards and thanks to Alan for the tip.

How to Succeed as a Writer in 2015

4 February 2015

From author Deborah J. Ross via Book View Café:

As the year begins, I — like many, many writers — contemplate what I can do to further my career. This applies whether we are traditionally published or self-published, or hybrids, partaking of both worlds. Publishers aren’t doing much in the way of promotion except for their biggest sellers, which leaves out most of us. More and more, traditionally published authors must do the same sorts of publicity as those who are going it alone. We are the ones to set up bookstore signings, place ads, plan blog hops, execute campaigns on social media, offer book giveaways, etc.

Success all boils down to having a product to sell, and in this case it’s the best books we can write. Tell a whopping good story in clear, accessible prose. But that’s not sufficient in itself. Many, many wonderful books fail to garner a readership (and many talented writers find themselves without a publisher because their sales are lousy). This is so unfair, I could weep.

. . . .

I took a look at what factors do contribute to a writer’s success.

  • Write a book (or series) with lots of salacious sex, preferably kinky.
  • Write a YA series with kid wizards/dragons that’s turned into a movie series.
  • Write epic fantasy with tons of gore that’s turned into a television series.
  • Write a dystopic YA series that’s turned into a movie series.
  • Write many, quickly released Mary Sue paranormal romances.
  • Write an epic fantasy the like of which nobody has ever read before, preferably with movie contracts to come, although these need not occur in your own lifetime.
  • Write lots of horror movies that are turned into movies.
  • Write gritty police procedurals, with or without sexy medical examiners, that are turned into a television series.
  • Write a series with romance and vampires, YA or adult, that is turned into a television series.
  • Write tie-in novels to wildly successful movie/s.
  • Write anything Peter Jackson turns into a movie.
  • Is there a trend here? Genre fiction is a pretty small piece of the pie, although romance and mystery have their devoted followers, just as science fiction does. Kids read omnivorously across genre, but they read stories that grab them. Most of the preteen kids I know are avid readers, but they read print books, either from the library or school book fair, which pretty much eliminates them as an audience for self-published authors.

. . . .

I continue in my belief that if I write from the heart — not only my fiction but my blog essays — then eventually my words will find a readership. Folks who like what I have to say will seek out my books. It probably doesn’t work that way, but you never know. At least I’ll be a success in being happy. And I’ll have the best readers I could ask for.

Link to the rest at Book View Café and thanks to Deb for the tip.

Here’s a link to Deborah J. Ross’ books

How To Win Sales And Influence Algorithms

3 February 2015

From David Gaughran:

I’m hosting a discussion today between two authors who are using creative ways to share audiences, something which has the happy side-effect of increasing their respective sales.

. . . .

Traditionally published authors may have to compete with each other ways that may not be relevant/important to self-publishers – like agents, deals, grants, prizes, or co-op. But self-publishers have nothing to fear from cooperating with authors they arenominally competing with, and everything to gain.

The market is so large that no writer will ever reach all the readers out there, and the odds of getting noticed can improve greatly with the right kind of cooperation – as many authors with box sets saw last year.

If you are still skeptical, consider this: Amazon’s recommendation engine can drive sales like nothing else. The Also Boughts (the strip of other titles under your book on its Amazon page) are central to that recommendation engine in ways that we only partly understand. What we do know is that they are key influences on all those emails which are sent to Amazon customers.

Did you ever have an unexplained bump in sales that couldn’t be tracked to a mention somewhere? There’s a reasonable chance you started appearing in the Also Boughts of a popular title in your genre, and then your book suddenly got recommended by email to a bunch of new readers in your target audience.

. . . .

Savvy authors are now pooling audiences in an attempt to influence their Also Boughts and get Amazon’s system to recommend their books to each other’s audiences. I noticed crime/thriller writers Matt Iden and Nick Stephenson doing this in interesting ways over the last few months, and invited them to spill the beans.

. . . .

Matt: So, some background. I first looked into what you were doing after I finally noticed the cover of your perma-free novel Wanted in my also-boughts. In retrospect, it was like the 29th time I’d seen it. Your covers are very distinctive and the branding is strong and consistent—no accident, I know—and something deep in my reptilian brain told me, You’ve seen this before. Maybe you should click on it?

Nick: Yeah, you know what they say: “twenty-nine times is the charm”. My marketing strategy revolves around annoying people until they buy. It seems to come naturally.

Matt: So I followed the trail to your author page, where your list of blog posts were about experiments in promoting, marketing, and unraveling the mysteries of Amazon placement and rankings. It was obvious you were using some different approaches, especially when it came to increasing discoverability in non-traditional ways.

. . . .

Nick: Damn straight. But I reckon, ask any “hobbyist” if they’d like to sell a few more books, I’m pretty sure they’d be happy to. I’ve spent the last couple of years figuring out what works, and the answer is gob-smackingly simple.

Get content. Tell people about content.

The “telling people” part is where most people struggle. But a lot of the work I’m doing with authors right now is helping them build up better ways to communicate with readers direct – rather than relying on Amazon and advertisers. And the results have been pretty incredible.

Matt: One particular thing that caught my eye was when you compiled some preliminary findings in a PDF report you shared (that probably formed the basis for your guide Supercharge Your Kindle Sales, which I was happy to blurb). It filled in a lot of gaps for me on keyword selection, rankings, and some other juicy bits I hadn’t seen treated quite that way anywhere else. I promptly told all of my blog people to go follow you and that really started our collaboration.

Nick: That was pretty cool of you! Putting together “Supercharge” was a lot of fun – it was cool to see two-years’ worth of experience jump out of my brain and onto the page. I was in the zone for a few days with that book. And I still get emails from people who’ve had great results, so it’s definitely been worth it from that perspective.

. . . .

Matt: Back to the collaboration, thing–this may be blindingly obvious, but self-pubbers are in a perfect position to treat other writers as collaborators, not competitors, considering the low price-point of most self-published books. This is especially clear when best-selling indies can sell a boxed set of twelve books for $.99. Traditionally published writers don’t have this advantage.

Nick: I think it’s from that old-school mentality that a trad-pub’s main audience is the casual / bestseller reader. The kind of people that pick up the latest Dan Brown in the airport, but won’t read anything else all year. I think the self-pubbers REAL advantage is that we understand we need to reach readers direct, and not just deal with publishers and agents. That shift in mentality puts us in our customers’ shoes. We know what our readers want, and we give it to them. THAT’S our killer advantage.

. . . .

Nick: Yeah, always. I think what’s good for one author is going to be good for everyone. Getting more people reading is the aim for me, even if they’re not my books! So, if I have a month where I’m not promoting anything, I’ll recommend other authors’ work that I think my readers will enjoy. I’m not “losing” sales. I’m building trust and connections.

Matt: A natural extension of that was to run some promotions together. I think the first was a coordinated email blast to our respective newsletters…at the time that meant about , what? 4,000 people saw both of our sale books? And you threw in an e-Ink Kindle reader to sweeten the pot.

Nick: Right. We sold 352 books from that email – and many of the people we emailed actually already owned copies. So that was a great result. Actually, apart from Bookbub, that’s a better result than pretty much any advertiser I can think of – and we didn’t have to pay anyone or jump through any hoops.

Link to the rest at Let’s Get Digital and thanks to Anthea for the tip.

Here’s a link to David Gaughran’s books, Matt Iden’s books and Nick Stephenson’s books

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