Too many new authors believe that once their book is written the sales will just come pouring in and they will make a bundle. Sadly, this disillusionment is shattered when they receive a royalty check. The honest to goodness truth of the matter is that the writer’s work is only started when the book is released. Even the huge author names of today began by peddling their books out of the back of their car. Many big-name authors also began by self-publishing because no one recognized their talent. They did not start off their career with a huge bang. They did not have the money to afford publicists and big marketing firms when they started out and yet they are super successful now. Take heart from their examples.
Marketing, promoting and networking must be done every single day, for the life of the book, in balance with your other activities and obligations.
Many new authors feel their only way to success is through book signings and bookstores stocking their book. They are wrong. While in larger centers with good promotion a book signing event or book reading event may result in as much as a couple hundred one-time sales… most smaller venues can only expect less than 10 sales. Is this worth the 2 hours or more that you spend at the event? Not counting all the preperation, marketing the event, promotion materials, time taken from work and any displays that you have designed and possibly paid for ahead of time. These events do not pay authors to host an event so any sales they do have may not even cover the traveling costs, hotel cost, meals, parking or supplies – let alone the time they put into it. Nor do they usually result in long-term sales – sales are often only during the few days around the event.
Bookstores can only realistically stock less than 1% of the 3 million books available on the market. Their discount with the publisher/distributor is large. Authors are paid royalties only on what their publisher has recieved. So is all the time and effort going into attaining spots on bookstore shelves worth it?
While the markets above are valuable and important to any author – what authors need to do is think outside the box. Figure out where your efforts will bring the greatest results. Don’t expect immediate and overwhelming acceptance by the media or your audience. Marketing, networking and promoting are long-term efforts that will reap greater rewards as efforts continue.
Many authors live in tiny towns and hold down jobs or have physical limitations that prevent out-of-town promotions; much like ourselves. This can be overcome. Again, think outside the box, use the Internet and your contacts – and be persistant. Newspapers, libraries, and bookstores are only the most obvious markets and also are the most difficult to gain the attention of without a strong image because everyone is vying for their attention. Work on your image and get strong promotion materials that help you stand out among the hundred thousand or more new books released annually.
So develop a long-term marketing plan and stick with it for the full term of your contract with the publisher. The market plan will grow and change as time goes on. And keep good records so you can determine how you will go about marketing the next book.
I just wanted to mention here that some authors get overwhelmed by the immense amount of effort it takes to market a book. If we take one day, one step at a time we will find it is not so overwhelming. I find it works best to figure out what you will concentrate on this week and then set a goal for today. I do this nearly every day. It helps me keep a steady pace going, without taking on too much or too little.
Remember too, that efforts you are making today may not reap immediate results. You may have to hit a market several times before they pick up your proposal. For instance, some contacts from nearly a year ago are now resulting in promotions in their publications. So be patient and professional in all that you do. Again, keep records so that you can follow up.
Newsletters can be small but effective markets for your work. On average, they can range in size from 1000-17,000 readers or more. E-zines typically reach an audience larger than 5000. Get a few of them in one month and you are reaching a wide audience! You don’t need to be rich or famous or have a publicist if you are determined and able to committ effort every single day. (Do take some time for yourself, though!)
Not Limited by Experience
This week, Literary Hub published an interview with Chang-rae Lee about his new novel, A Tender Age (Riverhead Books, August 2026). The novel follows Jeon-Gi, an eleven-year-old Korean-American immigrant at summer camp in 1976. It is Lee’s most personal book.
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.
He went to Exeter, then Yale, then to an MFA program at the University of Oregon. His thesis became his debut novel. His first book was not memoir. It was a spy novel. He found a form the facts alone could not have held.
When asked why he chose fiction rather than autobiography to tell this story, Lee said: “I’m just too restless in what I want from a story. I don’t want to be limited by my experience.”
He described making tteokguk this week — Korean rice cake soup, a broth of kelp and dried anchovies — trying to get the exact flavor his mother used to make. He was tasting it with his adult daughter, asking her: do you taste the fishiness and the sea? “That, for me,” he said, “is why life is worth living.”
He was not talking about cooking. He was talking about what fiction is for — trying to give someone else the feeling of something they did not live, so precisely and so honestly the feeling arrives whole.
In 1989, Eva Hoffman published Lost in Translation: A Life in a New Language, a memoir about emigrating from Kraków, Poland, to Vancouver, Canada, at age thirteen. She had grown up in a Polish Jewish family, speaking Polish and Yiddish and German. At thirteen, she arrived in a country where none of those languages worked.
She described what happened to her feelings when she lost her language. In Polish, she had words for every shade of sadness, every quality of light on a winter afternoon, every particular longing. In English, the words were approximate. The feelings were still there. The words were a size too large or a size too small.
She wrote: “I have to translate myself.”
She also wrote: “English is not my native tongue, but it is the language in which I live.” She did not mean she had given up the first language. She meant the first language and the second had made something between them — something neither could make alone.
Her memoir is not only about loss. It is about the discovery, in the gap between languages, of a self who could speak from both. She did not write the book she would have written in Polish. She wrote the book only an immigrant into English could write.
Lee does not want to be limited by his experience. Hoffman found she had to translate herself. Both are describing the same thing from different directions.
The experience itself is never quite the truth you are trying to reach. The experience is what happened. The truth is what it felt like, what it meant, what it made possible, what it cost. The experience is the surface. The truth lives below.
The Power of Authors teaches: fiction is not a flight from truth. It is the form you use when the truth is too large for the facts to hold. Lee was an immigrant child translating for his mother. His debut novel was a spy thriller. He found a form the autobiography alone could not have made. The feelings arrived anyway — in the spy’s alienation, in the immigrant’s double life, in the loss of a self lived between two languages.
You have a true experience you do not know how to write. You have tried it as memoir and it flattens. You have tried it as fiction and it feels like a lie.
It is not a lie. It is the form searching for itself. Keep writing. Lee made tteokguk and asked his daughter: do you taste the sea? He has been trying to pass the feeling across for thirty years.
Find the form your truth requires. The facts are not the limit. They are the starting point.
Discover why purpose is the foundation of every sentence worth writing in The Power of Authors by Evan and Lois Swensen.
The Power of Authors is available from Amazon or your favorite bookseller: http://evanswensen.com. If you’d like an autographed copy, you can order it here: http://bit.ly/4pgmzjM.
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 . . ..”



The Lyin Kings: The Wannabe World Leaders
Time and Tide


ReadAlaska 2014
Readerlink and Book Signings
2014 Independent Publisher Book Awards Results

Bonnye Matthews Radio Interview
Rick Mystrom Radio Interview
When he published those overseas blogs as the book The Innocents Abroad, it would become a hit. But you couldn’t find it in bookstores.
More NetGalley
Mary Ann Poll
Bumppo
Computer Spell Checkers
Seven Things I Learned From a Foreign Email
2014 Spirit of Youth Awards
Book Signings


Blog Talk Radio
Publication Consultants Blog
Book Signings



Don and Lanna Langdok
Ron Walden
Book Signings Are Fun
Release Party Video
Erin’s book,
Heather’s book,
New Books