Why I Love the Word: Next

By Terry Whalin @terrywhalin

When you partially fill a glass, is this glass half full or half empty? Your perspective is going to make a difference what actions you will take in the future. I tend to take the optimistic view of life and see the glass as half full. Is that your perspective?

Let’s face it. Writers hear the word “no” or “no thank you” often. Or they are ghosted with no response. If you are getting published or want to be published, then you need to be actively pitching. If you want to get published in a magazine, read the guidelines, craft a query letter to that editor and pitch. If you want to get a book published, then write a book proposal (your business plan even if you self-publish) and pitch. If you want to get on radio or podcasts, then you must pitch. Depending on your pitching skills and the person who receives you pitch, you get three possible response: yes, send it or no, not a fit or nothing (ghosted). From my years in publishing and being in some of the top editorial and literary offices in the country, from their questions to me, I know each of these professionals is actively reading their mail and email looking for the next bestseller (whether they respond to you or not). My question in this article is: how will you respond to their response to your pitch.

Rejection is a consistent part of the writing life--and for my life as an editor. The search for the right fit is hard. I pitch podcast hosts using PodMatch and do not get a response (ghosted) or turned down. I pitch authors on publishing with Morgan James and sometimes they do it and sometimes they pass on the opportunity. I’ve learned the hard way through getting rejected over and over that I can’t control the other person’s response. I can only control my side of the pitching process and continue moving forward.

There is a forgotten story about one of the bestselling series of books in the English language: Chicken Soup for the Soul. Jack Canfield and Mark Victor Hansen were rejected over 160 times in their search for a publisher. They recounted the story of their actions in Mark’s foreword to my Jumpstart Your Publishing Dreams book. With each rejection, they could have tucked away their submission and stopped. Instead they looked at each other and said a single word, “Next.” This submission didn’t work and now they are looking for the next opportunity.

 See the hope and action orientation of using that single word: next? I encourage you to adopt this practice as you face rejection in your writing life. 

When you speak or think the word: next, you show:

• your commitment to this project and you will not give up but find the next place for it.
• an affirmation to your belief in the pitch and you will not shove it into a drawer.
• your continued commitment to search for the right fit for your idea and your pitch.
• an affirmation that you believe the world is filled with opportunity and you will continue to lookfor the right one.

As I mentioned earlier, you can’t control the response from any decision maker or gatekeeper or anyone else. You can only control your actions and commitment to continue the journey--in spite of the response.

Now you know why I love and use the word: next. How will you use it in your writing life? Or maybe you use another method to continue moving forward. Let me know in the comments below.

Podcasts:

The Raygacy Show Podcast: I enjoyed speaking with Rayson Choo LIVE about The Publishing Playbook: How to Succeed as an Author at: https://bit.ly/418conm 

Tweetable:

Rejection is a consistent part of our lives as writers. This prolific author and editor tells why he loves the word: Next in this article. (ClickToTweet)

Throughout my years in publishing, I understand many aspects of the publishing process are outside of anything an author can control. As I’ve spoken with many authors, I learned many of them have unrealistic expectations about publishing. I wrote 10 PUBLISHING MYTHS to give authors practical help. Get my decades of insights in 10 PUBLISHING MYTHS for only $10, free shipping and over $200 of bonuses. 

Get these articles on your email: 

Since 2004, I have blogged about The Writing Life over 1,700 entries and one of the top 27 content writers. With this simple form, each week you can get my new articles, encouragement and insights at: https://t.co/W6uU64u6aA

How To Get Free Books

By Terry Whalin @terrywhalin

I love books--whether they are brand new, forthcoming or older books. I’ve been in publishing for decades but I’ve not written in these articles about the details of how to get free books and what to do with them when you receive them.

Authors and publishers need reviews yet you don’t have to buy those books to get them. I write reviews about books that I’ve purchased or checked out from my local library. If you love a print copy of the book in this article, I’m going to give you the details about how to get these books. This process is a basic because I’ve been in publishing for decades, I assumed others know this basic. I’m going to correct this assumption with this article. Through the years, I’ve written over 1,000 Amazon reviews and over 800 reviews on Goodreads. Also I’ve written many print magazine book reviews. 

My title for this article includes an exaggerated word (Free). The books are not really free whether they come from the author, a publicist or a publisher because they have been sent to you with a spoken or unspoken commitment. Because you requested this book, you are promising to write an honest book review about it.

You Ask For The Book

Within the world of book promotion, a print copy of the book from the author or publisher is one of the least expensive promotion tools--especially compared to other promotions like paid ads, print materials and other promotions. The easiest way to get a copy of the book is to ask the author or the publisher. Some people read electronic books on NetGalley. I have rarely used this system. I spend hours looking at my computer and phone. I do not like to read ebooks and prefer to receive a print copy. I can mark key passages and quotes in the print book. Your preference may be different.

As a writer, you want to be known as someone who does what they say they will do--i.e. write a review because many people who receive the book don’t post their reviews. If you do write then post your review, you will be the exception and easily stand out to the author and the publisher. 

Join Launch Teams

Another way to read new books before they release is to join a launch team. You will help other authors in this process and learn some of the behind the scenes details about book promotion. There is one caveat with launch teams. In recent years since the pandemic, publishers do not print as many advance reading copies nor sent out print copies to launch teams. You will likely get an ebook version or access to NetGalley and have to read the electronic version. I like and appreciate launch teams and do participate in a few of these efforts.

The Importance of The Release Date

I encourage you to be aware of the release date for a book you are going to review. Books launch on a Tuesday whether online or brick and mortar bookstores. You can write your review on Goodreads but not before the release date on Amazon or another online website (unless you are a part of a special group within those websites). 

In general, the closer you can write and post your review to this release date, the more positive attention you will get from the author and the publisher. These early reviews are important and appreciated. I’ve read that 90% of people who purchase a product online have read a review before they buy it. This fact is one of the critical reasons you want to encourage and gather reviews for your book as well as others. I have a free teleseminar about book reviews. Follow this link to have access. 

When You Get The Book

I have written the details about how to write a book review. I encourage you to develop your own pattern and style for these reviews. If you haven’t written reviews, then use a template to get going on your review.     

    

After You Read The Book

In general, I write my reviews in a Word file. Then I cut and paste this review on Goodreads as well as Amazon. At times I review it a third time on BarnesAndNoble.com but not every time. As I’ve written in these articles, I use MockUp Shots where I have a lifetime access with my reviews to create a unique image and add that image to my review. Also I use the image on social media when I promote my review (and the book). Finally I show the author or the publisher or the publicist, my published review on Goodreads and Amazon or anywhere else. I send the permanent link along with a sample of my promotion of my review. This final process shows this professional that I have completed what I promised and builds integrity and trust that I will do it in the future.

Just so you know, no one pays me to write these reviews and I do it on my free time. I receive many more books to read than there are hours in the day (even if I was doing it fulltime). In some cases, I don’t get the book read or reviewed. In general I have a good track record in this area. You can develop the same sort of reputation, if you do it consistently. 

What process do you use to get books for reviews? Am I missing something from the process? Let me know in the comments. 

Tweetable:

As a reader, you can get free books if you are willing to write a review. Get the details from this prolific writer and editor.  (ClickToTweet)

Much of the publishing process is outside of the writer’s control. 10 Publishing Myths helps writers have a realistic perspective and take action. Get 10 Publishing Myths for only $10 +FREE shipping + over $200 of free bonuses.

The Value of Contract Negotiations

 

By Terry Whalin @terrywhalin

If an editor sends you a contract for your book, you should celebrate. As someone who has been in publishing for years, I know it is a huge success to receive a contract. 

As an acquisitions editor, I have been involved in hundreds of contracts during my over ten years at Morgan James Publishing. I’ve also worked at two other publishers in this area and I’ve witnessed and been involved in my own contract negotiations through publishing over 60 books with traditional publishers. 

It may surprise you but many people don’t do any negotiation. They sign the document and return it. It is important to negotiate with the right attitude. The basic principle is to tell the other party upfront, you are negotiating in good faith and do not want to do or say anything that will kill (or stop) the deal.

Recently an author told me a literary consultant was giving her contract advice. I received over three pages of wording suggestions and this author believed she was negotiating to send them to me. To be fair, some of the suggestions could possibly go through and be accepted. Several of the suggestions were “deal killers.” When there is a deal killer, the publisher will stop the negotiation and walk away from it. As I read through the suggested changes, I knew this author needed some of my assistance. If she was willing to remove the deal killers then I suspected a number of the suggested changes could be accepted and incorporated into her contract. 

The publisher and the author have devoted a considerable amount of time and energy into the decision making process to even issue a contract. If the deal is killed at this point, the author returns to searching for a publisher and the publisher simply moves on to the next book. While it is more work for me as an acquisitons editor, I hope we can resolve the differences and still negotiate this contract. The balancing act in this process is tricky. As of this writing, I’m unsure how it will work out for this author.

Recently editor and author Jane Friedman wrote about The Business Skill I Wish I Could Grant To All Writers. The skill is negotiation. One of the surprising details in this article: “Not even the majority of agents negotiated the contract as well as they should have, because they were so advance focused. I wish I could say that your agent will definitely negotiate all the finer deal points, but that’s not the case in my experience. So even if you do have an agent, you should be asking them questions, too.” Most writers feel if they have an agent, then they will be well-represented in the area of negotiation. Like Jane, I have worked with a number of agents who don’t do much negotiation on the contracts for their authors. 

My point is even if you have someone else negotiating for you on a book contract, you should still take the time and energy to understand the proposed changed and what is going on. Why? Because when the contract is signed, it is not the agent or literary attorney whose name is at the bottom of the contract and ultimately responsible for the contract. That responsible person is you, the author.

I have a couple of contract resources on my Right-Writing site to help you with understanding your contract and the negotiations. First Publishing Contract Checklist by attorney Timothy Perrin (scroll down to read this excellent article--I have an unresolved formatting issue). Also I encourage you to read Five Magic Phrases: Tips for Negotiating Like a Pro by Jenna Glatzer. Each of these resources will give you additional information and help you become a better negotiator.

Do you negotiate your contracts or do you give that responsibility to someone else like an agent? Let me know in the comments below. 

My Articles in Other Places

In these entries, I encourage you to publish in other places. Here's where several of my articles have appeared:

Why Writers Need To Become Time Aware If you want to increase your productivity as a writer, one of the first steps is to become more conscious of how you are using your time.

Authors Who Succeed in the Book Business Success leaves traces and this article details some of those principles from successful authors.

Why You Must Understand Your Target Audience Every effective author knows their target audience and give the details in this article. 

Tweetable:

When you get a book contract, do you negotiate? Even if you have an agent, you need to learn and understand the value of contract negotiations according to this prolific writer and editor. Read the article here. (ClickToTweet)

Much of the publishing process is outside of the writer’s control. 10 Publishing Myths helps writers have a realistic perspective and take action. Get 10 Publishing Myths for only $10 +FREE shipping + over $200 of free bonuses.

The Value of A Template

By Terry Whalin @terrywhalin

As writers, we have many repetitive tasks. There are emails to write, articles to pitch, books to propose and many other forms to fill out. These various templates have value because you don’t have to re-invent or create anything. Instead you simply fill out the form. Through the years I have found great value in templates. If there isn’t a template that I can get from a program or someone else, I create my own template. 

One of the most common templates would be a printed business letter with the name of your company or your name at the top, then your address, phone and email at the bottom. For any type of document which is repeated, I find it easier to create a template in this process. Several years ago I wrote a detailed article about using a book review template. I've also written about creating a template to get your book into libraries.  To pitch at writer’s conferences or other times, writers often create a one sheet which is another common template because as authors we don’t just pitch one book but many different books. 

Some agents will send their author’s a proposal template to make sure the author answers all the variuous parts of a book proposal. Other agents have a distinct template they will pour an author work into before the agent sends it to publishers. The agent does this step to create a brand or distinct look for their publihsher submissions.

Publishers like Morgan James Publishing where I’ve worked for the last ten years have a number of templates. For example, we acknowledge every submission with a letter in the mail and use a template. There is an acceptance letter and next steps letter which is a template. The book contract is also a template. We even have specialized contracts for different agencies and agencies because they have negotiated distinct clauses for their writers. I’m sure you can see there are many different types of templates and I’ve only scratched the surface.

While templates save time and have value, you also have to use them with caution:

1. Before you send it to someone, make sure you have rewritten it and personalized it to that particular person. Otherwise it comes across as “canned.” 

2. In general I give the form a second and maybe even a third look before I send it. It’s one of the advantages to using the "draft" feature in a program.

3. I think about when I’m sending an email to someone else and if I especially want them to read it, I make sure the email will arrive during their “working hours.” Most of the email programs allow you to schedule your email and I take advantage of this feature if I’m concerned about such a detail.

While you may use a template for a professional look and to make sure you cover all the necessary details, here’s what you should not to forget: you are communicating with another person and you want to connect with that person in the best possible way and make the right impression. Our communication skills as writers is an important aspect of our work.

Do you use templates in your work? Let me know in the comments below.

 

Tweetable:

Do you use templates in your writing life? This prolific editor and author details the value of a template and some cautions. Get the details here.  (ClickToTweet)

My Writing In Other Places:

In these articles, I encourage you to write in different places. In this section, I model such actions.

Searching for the Right Writing Fit 

With the amount of submissions and rejections every writer gets I wrote this article to encourage writers to keep going to find the right fit for their writing.

Five Essentials for Every Book Proposal Last week I was on Your Best Writing Life Podcast talking about these critical elements and I encourage you to listen and take advantage of the resources and information for your writing life.

Every Writer Needs Connections Whether you are new to publishing or have been in it for years, you need the right connections and contacts. I give details about how to grow those contacts.

 
Many writers have unrealistic ideas and expectations about publishing. Get 10 Publishing Myths for only $10 +FREE shipping + over $200 of free bonuses.

Change Can Mean Opportunity

By Terry Whalin @terrywhalin

When it comes to change, I’m as guilty as the next person. I love my routines and doing things with a system and pattern. At times, I complain about the constant changes around me in technology, in my personal life and in my work in publishing. It is not easy to make these constant adjustments yet they are a part of our publishing world.

 

In the articles, I write about what I’m learning about the publishing world and here’s a simple truth: if you lean into those changes and watch for them, they can mean opportunity for your writing life.  I want to give you several examples of how you can seize the opportunities from change.

 

New Publications

The magazine world is in constant change. Because I’ve worked as a magazine editor, I understand the business side of producing these publications. Each publication must have subscribers but the bulk of the publication is normally paid through advertising. This fact explains the costly nature of such these ads. When you find a new publication, I encourage you to read it, study their guidelines then make a strong pitch to the editor. That editor is looking for regular contributors to the magazine and you have the opportunity to become one of those writers.

 

New Editor

At the magazines and book publishing houses, new editors enter the marketplace. Some editors who have been there for years are retiring and are replaced with younger editors. These new editors are looking for writers and the change is your opportunity to become one of them.

 

New Literary Agent

The agencies are often adding new agents or changing agents. To catch attention, you have to have the right pitch or proposal. These new agents are looking for a list of clients who they can sell into the market. Through your research and excellent writing, you can stand out and be someone they want to sign to their agency.

 

New Publisher

On a constant basis new publishers are entering the marketplace. A key action step for every writer is to ask good questions before signing with the publishing house. One of my Morgan James authors who just signed with us was exploring different publishers. One of the innovative steps he took was to order a book from each of these places. Then with a book in hand, he could check the quality of the product, see how quickly they delivered it and much more.

 

How To Find These Changes

The trade magazines like Publishers Weekly and Rush to Press from the Evangelical Christian Publishers are places to begin to notice shifts and changes in the market. With each contact, you have to make a good and appropriate pitch.

 

Continue to Build Relationships

I encourage you to continue to build relationships in the publishing community. As I’ve often said in these articles, who you know is as important as what you know. As you attend writer's conferences, you should exchange cards and information with everyone you meet—not just the faculty. When you get home from an event, input the information into your phone or computer so you have easy and continual access to it. Are you and I connected on LinkedIN? If not, follow this link and send me a connection invitation.

 

As editors and publishing people, we are actively looking for authors who can be a good fit for our company. You can seize these opportunities if you are aware of it and make the right pitch. How are you taking advantage of these changes and turning them into opportunities? Let me know in the comments below.

 

Tweetable:

Change is not easy for anyone. If you are aware of it, change can mean opportunity for your writing. This prolific editor and author gives the details here.  (ClickToTweet)

Many writers have unrealistic ideas and expectations about publishing. Get 10 Publishing Myths for only $10 +FREE shipping + over $200 of free bonuses.

Reach the Unreachable

By Terry Whalin @terrywhalin

One of the consistent challenges in the publishing world is to reach the right person at the right time with the right stuff. I understand a number of “rights” have to line up for this connection to be made.  The publishing world marketplace is full of half-baked ideas and poor submissions. Editors, literary agents and others have seen these submissions and it stirs them to use their delete key and not even respond to it. I’ve seen these poor submissions but I’ve chosen to take a different path.

 

A number of people have told me that I’m one of the most accessible people (reachable) in publishing. A number of people make their email address difficult to find. Instead my personal email is in my Twitter profile. It is also in my LinkedIN contact information. My public LinkedIN profile says I have 500+ connections but I really have over 19,400 connections. I want people to be able to reach me because I understand these connections can lead to other opportunities.

 

Many people are surrounded with gatekeepers or executive assistants or others who screen the email and phone calls before they grant access. These gatekeepers form an important function but how do you break through and get past the gatekeeper? I’m going to give you some ideas in this article. It's like a lock, your task as a writer is to locate the right key which will open the lock.

 

As you reach out to this individual, the first step is to get into their perspective and determine how you can entice them to respond. For example, I’ve interviewed more than 150 bestselling authors and I’ve written magazine articles about these authors for different publications. Often their publisher would connect me to the author for my interview. These publishers wanted the publicity for their book and author. If a magazine has “assigned” you to write an article, then you have greater leverage to connect than if you are writing it on speculation. If you are using this magazine article angle, you need to be prepared for the publicity person to ask you whether you are writing on assignment or speculation.

 

Other times you are reaching out to an editor or a literary agent because you want to pitch them a particular project. Have you met them at some writers conference or another type of event? Even if this meeting was years ago, you can still use this fact as you reach out to this editor or agent.

 

Whether you are trying to reach an editor, an agent or a bestselling author, one of the critical steps is your preparation. It was a lesson I learned as a young journalist. Research the background of these people, what they have written and read their books. If they had a press kit and it was sent to me, I read the press kit. Sometimes a nugget of information in these kits has led to wonderful stories when I asked about it.

 

There are other ways to reach these people such as their website, LinkedIN or another social media website. Also consider if you know someone else in your circle of relationships who has an established relationship with this person. Would your friend introduce you to this person? Often you will not know the answer to this question until you ask it. How do you reach the unreachable? From my decades in publishing, the answer is rooted in several key words: persistence, perserverance and consistency. If one door slams as you try, then use a different door and knock on that one until it opens. Does it always work? No, but I’ve learned often you can reach the unreachable if you continue trying.

 

Do you use other methods to reach the unreachable? Let me know in the comments below.

 

Tweetable:

Many people in the publishing world are difficult to reach such as bestselling authors, editors and literary agents. This prolific author and editor gives details about how to reach the unreachable. (ClickToTweet)

Many writers have unrealistic ideas and expectations about publishing. Get 10 Publishing Myths for only $10 +FREE shipping + over $200 of free bonuses.

How to Handle Editorial Trauma

By Terry Whalin @terrywhalin

Over the last few days, I have been in editorial trauma. It has happened to me over and over in my years in publishing. I don't like to be here but it is a reality of this business. Every writer needs an editor (or maybe a series of editors) to help you with your blindspots, raise questions where information is missing and improve what you are publishing. Whether you are writing for a traditional publisher or self-publishing, this editor is a critical partner in producing excellent work.

Months ago on deadline, I completed a book manuscript, which is one of the first books in a series from this publisher. My book will be published later this year and during those silent months, the publisher was evaluating and talking about the pattern for their series. Whenever you write one of the first books in a series of books, there will be revisions and bumps in the process. I've been working through those bumps this past week and it has not been easy work.

No matter who the publisher or editor, the process is fairly straightforward. You write your manuscript in Microsoft Word, then the editor turns on the tracking feature in Word and edits. If they have questions or need you to fix something, then the editor adds a comment into the margin which looks like a little post-it on the screen. As the writer, my role is to go through these questions and answer each one to the best of my ability. When I am asked for additional information, I add it. When something needs clarification, I clarify. It's the detailed and important work for the book to be excellent. While I understand this truth, it doesn't make the process any easier to complete successfully.

It has been months since I focused on the content for this book. The publisher eliminated some of the features (narrowed them) and added a section or two (which now I have to complete).

Several lessons for you when you are in the middle of this editorial process:

1. The editor's questions are professional and not personal. It is all about the work and producing excellent work for the reader. I've worked with this editor for years and admire his editorial skill—even if I don't like answering all of the questions—I answer them anyway and rewrite and improve my book.

2. The process is messy at times. I've had to do additional research to answer some of the questions and dig into some reference books on my shelf. I've worked long hours at my keyboard with a screen covered with questions and editorial marks.

3. It is all part of the process of making excellent books which touch lives and help readers. It does not have to be easy (because it isn't). If it were easy, everyone would do it.

4. I know I will get through this editorial trauma—eventually. As much as I've been through this process over the years, I look at some of those questions and to myself say, “Enough with all these questions.” Then I get up and take a few minutes away from my screen. I return to it and keep moving forward and making the requested changes and adjustments. The mansucript is finite and I will get through it.

5. Excellent publishing is a team sport. You can certainly design your own cover, edit your own book and self-publish. Unless you are a multi-talented person, I suspect your book will be hard to sell, receive little positive feedback and probably few sales. There are exceptions to these statements but overall we need each other to succeed. However you publish, you will have different people on your team who are experts in their part of the process.

6. I learn a great deal each time I go through this process. I've published many articles and books over the years but I am still growing as a writer and learn as I answer these questions. Months ago I worked hard on the manuscript that I turned in—but now with this additional work, it will be even better. I can absorb the lessons from the questions and improve my next manuscript.

I'm going back to my editorial work and determined to keep moving through it and answer every question to get this manuscript back to my editor. Then the book can move into copy editing, proofreading and eventually printing then distribution to the bookstores.

The reality is we don't have to like every part of the publishing process—but we do need to understand it and work our way through it to produce an excellent book. I hope this article has helped you understand it is not easy to produce excellent books but each of us with persistence (and some patience) can do it.

Have you been through this editorial trauma process? What tips and insights do you have to get through it? Let me know in the comments below.

Tweetable: 

It is rarely discussed but producing an excellent book is challenging at times. Learn how to handle the editorial trauma from this much published author and editor. (ClickToTweet)

When Your Book Isn't Selling

By Terry Whalin @terrywhalin

I used to cringe when I saw the mail or email from one of my publishers. It probably contained a royalty statement and experience told me many of those numbers would begin with a minus (negative balance).  I’ve written for many different traditional publishers and have had this experience from a broad spectrum of types of books including how-to, self-help, biographies, gift books and children’s books.

When your book sales are off, it’s a natural tendency to want to blame someone. Maybe my editor has left and my book was orphaned inside the publisher with no champion or advocate. Maybe my publisher didn’t market the book to bookstores. Maybe they changed the title between what was printed in the catalog and what was published. Or _______(fill in the blank). I’ve had all of these things happen to my published books. 

Good publishing involves a cooperative process and working with many different people. Much of this process is outside of the author’s control. I’ve also learned there are many pro-active steps authors can take to change their situation.

1.      Take 100% responsibility for your own success. In The Success Principles, Jack Canfield makes this the first principle. Over ten years ago, I heard this principle and adopted it in my publishing efforts.

2.      Be active in the promotion and marketing of your book.  As the author, you have the greatest passion for your book—way beyond anyone else including your publisher. The great promoter, PT Barnum said, “Without promotion, something terrible happens—nothing.” Consistent promotion of your book is important.

3.      Be Generous with your book. Reviews sell books but many authors have few reviews for their book on Amazon or Goodreads or Barnes & Noble. Give books to people who are willing to write a review. If they’ve never written a review, give them a tool to help them like with this form.

4.      Ask for others for help. In the New Testament, James 4:2-3 says, “You do not have because you do not ask.” If you need endorsements, ask but make it easy for them to say yes (offer to draft it). If you need social media promotion, ask but create possible posts. Here’s an example of a page, I created to help others help me spread the word on my latest book. Use this page as an example of something you can create for your own book.

5.      Take the long view of publishing. Publishing and promoting a book is more like a marathon than a sprint. With the huge volume of published books, someone has to hear about your book seven to twelve times before they purchase it. What actions can you take every day to give your book this exposure? My Billy Graham book trailer has been seen over 11,500 times in the last five years.

6.      No matter what happens in your life, keep going. In Perennial Seller, New York Times bestselling author Ryan Holiday writes, “The hard part is not the dream or the idea, it’s the doing.” If there were a simple formula to create a bestseller, every book would be a bestseller. There are practical actions every author can take. Each part of the publishing process has challenges and as writers your persistence and consistency is critical. As #1 New York Times bestselling author Jerry B. Jenkins wrote in the foreword of my book, 10 Publishing Myths, “Only one of a hundred writers literally make their deadlines.” If you meet deadlines with quality writing, it’s an easy way to stand out from the crowd. I wrote 10 Publishing Myths (released December 17th) to give writers realistic expectations and practical steps every author can take to succeed. Today, you can get the 11th Publishing Myth as a free ebook (which is not in the book).

When you point a finger at others because your book is not selling, just remember: when you extend your pointer finger, four more fingers are bent back toward you. Take action today.

Am I missing an action idea you can take? Or maybe you have other feedback. Let me know in the comments below.

Tweetable:


What action steps can you take when your book isn't selling? Get some ideas from this prolific writer and editor. (ClickToTweet)

Five Sure-Fire Ways to Fail as a Book Author

For many years I've written on the positive ways to succeed as a book author in these articles. Yet there is another path which many people take on the road to publishing their book. Here's five sure-fire ways to fail as an author:

1. Believe if I build it, they will come. These authors pour energy and effort into building a great website for their book. While a website is important in your book marketing, it isn't everything. You may have the slickest well-written website but without telling people about it, no one will come. There are millions of websites online. If the author doesn't drive traffic and eyeballs to see your content, then it does not help you or your book sales. There is much more to the process than simply building a website and hoping (without action) that people will come.

2. Believe I know everything there is to know about publishing. I've met authors (some of them even well-known bestselling authors) who believe they know everything there is to know about publishing. These people ooze confidence. I've spent decades in this business and read the trade magazines and other things constantly. Things are constantly shifting in publishing and there is always more to learn—and I do learn new things all the time. Overconfidence can be a pitfall for authors. It is great to believe in yourself but be balanced in that view.

3. Believe the publisher will sell my books for me without marketing. Publishers make and release amazing books. Yet without marketing and telling someone about that book—then no one will purchase it. No matter how you publish your book (traditional, hybrid or self-publishing), the bulk of the marketing effort will fall on the author. Authors are fooling themselves if they believe their publisher will sell the books—with or without marketing. Yes publishers can get your book into bookstores—but it is the author's marketing efforts that get readers to purchase the books.

4. Believe attending a writers' conference is a waste of time. For an author to go to any event (local or far away), you will invest time and money in this process. If you attend these events with the wrong expectations or attitude, then you will set yourself up to not get anything out of it. I believe every author can cut down their learning curve from attending writers' conferences, meeting the right people and applying the information they learn to their book and marketing efforts. Knowledge without action is worthless but you can certainly meet many of the right people at a conference. If you haven't been to a conference or haven't been for some time, I encourage you to make plans and a commitment to get to a conference (check out this link for a list of some conferences). Attending a conference can invigorate your writing life and success as a book author.

5. Believe the title, cover and publisher do not matter. Each of these elements are critical in the book purchase process. I've bought books because of a title or a cover design. I've also not purchased books because of the publisher.  Many consumers do not notice the publisher and I admit to being a more sophisticated consumer than many people. These elements are a critical part of the book production process and essential for your success.

I've written about only five of many different ways a book author can fail. The details are an important part of the process. Maybe I'm missing a critical way for an author to fail? Let me know in the comments below.

Tweetable:

Learn Five Sure-Fire Ways for Book Authors to Fail. (ClickToTweet)