Instagram is not about the book. It is about the world the book comes from.
When Josh Verhagen created Eddie the Ermine, he understood something most authors miss. The illustrations in his book do not decorate the story. They teach. Every page invites interaction. Hidden animals draw young readers deeper into the images. The visual experience is inseparable from the message.
Instagram works the same way for an author. The images are not decoration for the marketing. They are the world the book comes from — made visible to readers who may never have seen it.
Is Instagram Right for Your Book?
Not every author belongs on Instagram. The platform is visual — built around images and video rather than long-form text. If the book’s subject has a visual dimension — a setting, a landscape, a process, a craft, a place — Instagram gives readers a window into it.
An author writing about Alaska wilderness can share the ridge where the story takes place. An author writing about cooking can share the kitchen and the ingredients. An author writing about history can share the archive, the photograph, the artifact. An author writing a children’s book can share the illustrations in progress — the sketch, the color study, the finished page.
An author whose subject is not photographic still has visual material to work with. Research notes, hand-drawn diagrams, maps, timelines, archival documents, and the ideas themselves — rendered as a sentence on a clean background — can each offer something worth seeing. The question is not whether the author owns a camera. The question is whether something about the book’s world can be shown rather than only described.
If the book’s world is primarily interior — ideas, arguments, analysis — LinkedIn or Substack may serve the book better. The question is: where are your readers, and what do they expect to find?
What to Share
The bookstagram community — readers and authors who use Instagram to discover and discuss books — gives authors a chance to show readers something generic promotional graphics cannot: the actual world behind the book. A photograph taken at the research site, a marked-up manuscript, or the view from the writing desk belongs to this author and no one else.
Share the world behind the book. The place where you write. The view from the desk. The stack of research materials. The map pinned to the wall. The coffee shop where the outline came together. The landscape driving the story.
Share the process. A first draft page with revisions in the margin. The cover design before and after. The moment the printed books arrive. The signing table before the first reader walks up.
Share what you are reading. What you are noticing. What surprised you during research. What a reader said at a signing — with their permission and first name only.
Each of these images offers something a generic book-cover post does not — a window into one author’s particular world. The image earns attention by being worth looking at, not by asking for a purchase.
What Not to Share
The same cover image posted every week with “Available now!” If every post is a purchase invitation, there is little reason for a reader to return between buying decisions.
Stock images with inspirational quotes. A stock photograph can be used by anyone. The photograph from your research trip can come only from you.
Personal details the reader did not ask for and the author may regret sharing. The line between sharing your world and oversharing your life is real. Share the writing life. Protect the personal one.
Start Where You Are
Josh Verhagen did not write a long book. He wrote a short, purposeful one. Eddie the Ermine works because it does not try to do everything. It does one thing well — and enough.
Instagram works the same way for authors. One photograph of the place the story came from, posted with a sentence about why it matters, can show a reader something a week of generic promotional graphics cannot.
Start with one image. The one showing a reader something they would not see without you.
If the image exists — as a photograph, a sketch, a document, or an idea made visible — Instagram may be the right place for your book. If it does not, another platform may serve you better. Either answer is the right one.
If this idea resonates with you, you will find the same philosophy throughout The Power of Authors by Evan and Lois Swensen — a book about why authors write and why what they write matters.
The Power of Authors is available from Amazon or your favorite bookseller: evanswensen.com. If you’d like an autographed copy, visit the same website and order directly.
Three years after his wife’s death, Wolo receives a letter.
You will hear this advice: create a Facebook Page for your book.
She was a conservatory student — the kind of student who doesn’t just play but feels music as something larger than technique. Then a relationship ended badly. A choice was made young. She became Livia Cable instead, living quietly in farm country, having traded the conservatory for stability and the passion for something more manageable.
For every post asking readers to buy the book, share three giving them a reason to stay.
When I first met Weston Fields, he looked every bit the Kodiak fisherman — rubber boots, suspenders, wool shirt. He was there to support his mother, who had written a book about ranching history on the island. She spoke first. He said almost nothing. When he finally did, it was to tell me — gently — he had already edited her manuscript.
It is the summer of 1951. London is still pockmarked with bomb sites. Food is still rationed. Men who survived the Burma Railway, the North Atlantic convoys, the firebombing of cities have come home to a country worn to nothing by six years of war and five more of austerity. The war ended in 1945. The damage did not.
Robin Barefield lives in the wilderness on Kodiak Island, where she and her husband own a remote lodge. She wrote her first novel, Murder Over Kodiak, powered by a generator, miles from the nearest road. No MFA. No publishing connections. No high-speed internet.
A reader once walked into a bookstore and said, “I’m looking for a mystery set in Alaska.” The bookseller reached for a shelf and handed her a book.
The ceremony is the same every year. The names are the same. The readers change — grown children now where small children once stood, grandchildren where children once stood. The memorial pools fill the footprints of the towers. The water falls continuously.
Open a browser you do not normally use. Type your name. Hit search.
He had grown up in Bujumbura, the capital — the son of a French father and a Rwandan Tutsi mother. In 1994, the genocide in neighboring Rwanda killed between 500,000 and 800,000 people in one hundred days. Civil war followed in Burundi. His family left. He grew up in France.
The morning after. The folding tables are back in the garage. The leftover food is in the refrigerator. The unsold books are stacked on the dining room table. The banner is rolled up in the corner.
Lee came to the United States from Seoul at age three, with his mother and sister, to join his father, a psychiatrist who had immigrated earlier. He grew up in Westchester County, outside New York City. As a child, he often translated for his Korean-speaking mother. He stood between two languages for her, carrying her words into English and the world’s words back to her.
Monday morning. A bookstore manager sits down with forty-seven unread messages. She has an hour before the store opens. She is deciding which emails deserve her attention and which ones can wait.
The novelist Ella Camposanto has arrived in Sicily with her twelve-year-old daughter, Manuela. They are staying near the ruins where the narrator’s grandmother once worked on an archaeological dig. The summer is full of volcanic rumbles and sudden storms. The narrator’s mother is beginning to forget.
When I was publishing Alaska Outdoors magazine, the head of the journalism department at the University of Alaska sent me a submission. It was so poorly written, I took it for a joke. I answered it as a joke, only to learn the author was serious. He simply had such an inflated self-image; his writing read like a spoof. It was no spoof.
At 8:15 on the morning of August 6, 1945, Kiyoshi Tanimoto was on the outskirts of Hiroshima, unloading a handcart at a house in the suburb of Koi. He was two miles from the city center. He had slept poorly — the overnight air-raid warnings had kept him up — and he had risen early and set out with the cart.
Two books publish on the same Tuesday.
Among the nineteen longlisted novelists this year are writers who have been writing for a long time before this first novel existed.
You check your Amazon page for the first time after your launch team has done its work. The reviews are there. Three in the first week. Your heart lifts. Then you notice the label beneath one of them.
This is Publication Consultants’ motivation for constantly striving to assist authors sell and market their books. Author Campaign Method (ACM) of sales and marketing is Publication Consultants’ plan to accomplish this so that our authors’ books have a reasonable opportunity for success. We know the difference between motion and direction. ACM is direction! ACM is the process for authorpreneurs who are serious about bringing their books to market. ACM is a boon for them.
Release Party
Web Presence
Book Signings
Facebook Profile and Facebook Page
Active Social Media Participation
Ebook Cards
The Great Alaska Book Fair: October 8, 2016


Costco Book Signings
eBook Cards

Benjamin Franklin Award
Jim Misko Book Signing at Barnes and Noble
Cortex is for serious authors and will probably not be of interest to hobbyists. We recorded our Cortex training and information meeting. If you’re a serious author, and did not attend the meeting, and would like to review the training information, kindly let us know. Authors are required to have a Facebook author page to use Cortex.
Correction:
This is Publication Consultants’ motivation for constantly striving to assist authors sell and market their books. ACM is Publication Consultants’ plan to accomplish this so that our authors’ books have a reasonable opportunity for success. We know the difference between motion and direction. ACM is direction! ACM is the process for authors who are serious about bringing their books to market. ACM is a boon for serious authors, but a burden for hobbyist. We don’t recommend ACM for hobbyists.

We’re the only publisher we know of that provides authors with book signing opportunities. Book signing are appropriate for hobbyist and essential for serious authors. To schedule a book signing kindly go to our website, <
We hear authors complain about all the personal stuff on Facebook. Most of these complaints are because the author doesn’t understand the difference difference between a Facebook profile and a Facebook page. Simply put, a profile is for personal things for friends and family; a page is for business. If your book is just a hobby, then it’s fine to have only a Facebook profile and make your posts for friends and family; however, if you’re serious about your writing, and it’s a business with you, or you want it to be business, then you need a Facebook page as an author. It’s simple to tell if it’s a page or a profile. A profile shows how many friends and a page shows how many likes. Here’s a link <> to a straight forward description on how to set up your author Facebook page.



Mosquito Books has a new location in the Anchorage international airport and is available for signings with 21 days notice. Jim Misko had a signing there yesterday. His signing report included these words, “Had the best day ever at the airport . . ..”



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