Busting the Myths of Digital Publishing, Redux

Hi Folks,

Note: This post was originally scheduled for 8/20/2013. It didn’t post to MailChimp, so I’m posting it again now. I’ve revised the original post so it’s up to date.

First, a brief announcement. I’ve reopened my copyediting and eformatting service. I’ve kept my prices LOW. Former editing clients are preferred, but new clients are welcome too. For details, please click http://harveystanbrough.com/copyediting/.

Okay, back in August, 2012 I updated and republished a post titled “Busting the Myths of Digital Publishing.” According to some of the questions I’ve been fielding lately, it bears repeating. Enjoy.

There are many myths and false perceptions about digital publishing.

Some are being perpetuated by so-called Big Publishing, but many also are being passed around by what we Marines used to call barracks lawyers. Folks who purport to know what they’re talking about when in fact they know just enough to get themselves (and you, if you listen to them) in trouble.

As a writer, publisher, editor and writing instructor (back when I wrote this), it frustrates me to know that so many writers have been fed—and have actually believed—what is nothing more than pure, unadulterated bull cookies.

In this post I will endeavor to bust those myths and discount those false perceptions.

I tell my writing students often, Any time any instructor (or other alleged expert) says something he or she can’t explain to your satisfaction, run. The same goes for me. I can back up everything I tell you with real-world examples and facts.

If you don’t understand something in what follows, feel free to email me at harveystanbrough@gmail.com.

Here are the more prevalent myths about digital publishing.

1. I have to format my work as a .mobi or .epub file before I can send it to Amazon or Barnes & Noble (or Smashwords).

Wrong. You can send your properly formatted Word .doc to Smashwords and Amazon. (I recommend allowing Smashwords to distribute to Barnes & Noble.) Amazon converts your Word .doc into a Kindle (.mobi) file, and Smashwords converts your Word .doc into several eformats and then distributes it to Barnes & Noble, Kobo, Apple and Baker & Taylor and about 20 other stores around the world.

If you need help with this, click http://harveystanbrough.com/ebook-conversion/ and check my rates.

To learn to do it yourself, you can download my FREE ebook, The Essentials of Digital Publishing. I also recommend the Quick Guide to Self-Publishing and FAQs, also free. If you check out the Free Stuff tab on my website, you’ll find a lot of other things too.

2. Amazon is the best place to sell ebooks.

Not necessarily. Amazon is only one place to sell ebooks. Rather than hoping for a lot of sales in one venue, work for a few sales in a lot of venues.

If your ebook is for sale only at Amazon, that’s about 20 venues—Amazon US & Canada, Amazon UK, Amazon DE, Amazon FR and Amazon Italy—and your work is available only on devices that read .mobi or .prc files.

If you publish it through Amazon and Smashwords, it automatically sells through over 200 venues worldwide (Apple has 50 by iteslf) and is available on literally every reading device and in every electronic format.

In the case of book sales, more really is better.

3. My electronic book has to have an ISBN.

Wrong. Amazon assigns an Amazon Standard Identification Number (ASIN), and Barnes & Noble assigns a similar stock number to books they sell.

Because some of Smashwords’ partners require an ISBN, if you add “the Smashwords Edition of” to the front matter of your ebook and include Smashwords’ License Notes, Smashwords will assign a completely free ISBN for you.

4. Ebooks are a passing fad.

El Wrongo de Mucho. Today (this was in 2013) over 40% of American households have at least one dedicated ereader.

Dedicated ereaders are actual Kindle or Nook readers, iPads, and the various tablets. That doesn’t include Kindle- or Nook- or Apple-enabled telephones or computers that can read PDF files through Adobe Acrobat Reader, and it doesn’t include the free ereaders you can download to your PC or Mac.

See Reader Resources in the left sidebar on my website, then scroll down to Free Kindle and on down.

Additionally, in 2011 Amazon announced that ebook sales had surpassed paper book sales for the first time in its history. My own work has been published in three ways: traditionally, through POD, and now in ebooks. I have sold more copies and made a lot more money since January 2011 (the ebook era) than I made on all of my paper book sales since the mid-’90s.

5. I have to wait for my publisher to publish my book first, or my publisher doesn’t publish ebooks.

Wrong. Simply retain all ebook rights (all electronic rights) and publish the ebook version yourself.

Even if you’re self-publishing, which can take a month or longer from signing the contract to having the books in your hand, you can have your ebook published within only a few hours. If you do allow your publisher to publish the digital version as well, I recommend you negotiate for at least 50% of the royalties on ebook sales, and be sure it’s in your contract.

6. I’ll have to do all the marketing myself.

Okay, yes. This is true, but you have to do all the marketing yourself even with a traditional publisher unless you’re Stephen King. And you aren’t.

7. I can’t get my ebooks into brick & mortar bookstores, and I can’t sign my ebooks or sell them at book fairs.

Wrong. I recommend you purchase and read Dean Wesley Smith’s Think Like a Publisher.

8. Ebook selling prices are low compared with paper books.

Not necessarily, and the royalty rate on ebooks is much higher.

Even if you get a whopping 10% royalty on your print book, for every $14.95 sale you’ll make only $1.49. On the other hand, for every $5.99 ebook sale, you’ll make $4.67 (78%) royalty.

Those are the actual prices and royalty rates of my book, Writing Realistic Dialogue & Flash Fiction, in paper and in eformat.

When I’ve sold 100 paper copies, I’ve earned $149. Then I have to deduct the cost of gas and the hours of standing around at book fairs, etc. trying to sell them.

When I’ve sold 100 ebook copies, I’ve earned $467. Then I have to deduct the cost of about two hours per week online in the comfort of my own desk chair. Get the point?

9. You have to have a dedicated ereader to read ebooks from Amazon or Barnes & Noble.

Wrong. You can download a free ereader for your PC or Mac so you can read .mobi (Amazon Kindle) files and .epub (Apple and B&N Nook) files right on your computer.

Again, see Reader Resources in the left sidebar on my website, then scroll down to Free Kindle and on down.

Oh, and if you shop at Smashwords, you can download your purchases as Kindle, Nook or even PDF files.

10. But I like “real” books. I like the feel of the paper, the smell of the ink.

Yes, I know. So do I. But I’m not talking to you right now as a reader. I’m talking to you as a writer and publisher.

As a Reader, if you want to read only “real” paper books, pay more for them and lug them around, that’s fine. I have books out there in paper. I hope you’ll buy them and enjoy them.

But as a Writer, if you want to reach a much larger audience and provide your books in the format those readers are looking for, you need to get with the digital publishing revolution.

I personally love the smell and feel of a paper book in my hands, but I probably won’t ever buy another paper or hardback book. I’ve become addicted to my ereader, and I’ve become especially addicted to having literally thousands of books in my hand. I can open and read any of them at any time, yet the whole device weighs less than a standard paperback novel.

and the biggest myth of all is an outright lie perpetrated by Big Publishing…

11. Ebooks are not nearly as good quality as print books.

Wrong. This is an outright lie. In truth, the large traditional publishers also are producing ebooks today to keep up with all the independent publishers and with a reading public that is increasingly demanding ebooks.

And in truth, thus far when big publishers produce ebooks, they actually are lower quality than books that are produced originally as ebooks. Instead of actually laying out the book for use in an eformat, the big publishers simply scan the pages into a document, then publish it. Because scanners don’t read and translate actual letters, the results are often horrible.

As is most often the case, the truth is simple: Poor writing leads to a bad book, whether it’s traditionally or independently published. Quality writing plus quality layout and design leads to a quality book, whether it’s traditionally or independently published.

‘Til next time, happy writing and publishing!


I am a professional fiction writer as well as a copyeditor. For details, or just to learn what comprises a good copy edit, please visit Copyediting.

Update to Brave New World of Publishing

Hi Folks,

This morning as I emailed a friend, I had occasion to revisit an old blog post, one I wrote here back in October, 2015. The information in it bears repeating, especially in light of recent posts over at Dean Wesley Smith’s website. I recommend you read my older blog post before continuing with this one, even if you think you remember everything about it. To do so, click Brave New World of Publishing.

After that, to read one of the more important posts to come along in awhile in the way of advice for writers from a guy who’s been doing it successfully for decades, read Dean’s Blaming the Reader (for no sales).

His post includes a list of reasons your books don’t sell even a few copies. It was so good I copied/pasted it into a Word document, mostly so I could re-read it in the future and also to share it with others.

But back to this post. This is an update on the information I shared in the October 17, 2015 post.

First, I no longer use Pronoun. They don’t allow the author to select the venues to which they distribute the author’s work. For me, that’s a deal killer.

As for XinXii I have sold one copy of one short story collection through them (as far as I can tell) for a grand total royalty of $1.10. That’s in well over a year. So I’m not pushing them anymore either. Then again, $1.10 is a minuscule price to pay for a lesson.

I also had some problems interfacing with OmniLit’s website (they’re also All Romance Ebooks). I found the website clunky at best and unresponsive at times. Soon I decided the few sales I might get through them wasn’t worth the hassle. But that might have just been me. I recommend you check them for yourself, especially if you write romance or erotica.

So today, my titles are distributed through Amazon, Draft2Digital, Smashwords, and through direct sales at StoneThread Publishing.

Yes, Amazon remains the biggest seller.

Draft2Digital remains by far the easiest distribution venue to use, and they pay fair royalties.

I still despise Smashwords’ extremely clunky interface. If you have only a few titles to manage, it isn’t a big deal and it isn’t bad. But if you But with 200 titles in my account, using the channel manager or anything else is a nightmare. Still, the number of big-deal sales venues they offer makes the aggravation acceptable.

Back in the Iron Age (2011) I didn’t mind the clunkiness at Smashwords so much. It was pretty much state of the art. But today, all you have to do is compare the submission process at Smashwords with D2D to see what I mean. If D2D had the venues Smashwords has, I’d drop the latter in a heartbeat.

I haven’t mentioned CreateSpace. They are by far the best choice for do-it-yourself print production and distribution. If you don’t want to do it yourself, you’ll need to look around and select a print-layout and cover design service. Because loyalty and honesty are important to me, I cannot in good conscience recommend any service in particular.

If anyone out there knows of any that you recommend or if you do your own layout and spine and back cover AND ENJOY IT, please let me know.

Of course, if you aren’t writing and producing new work, none of the above matters in the slightest. Ahem.

That’s it for this time. ‘Til next time, keep writing.

Going on the Cheap

Don’t do it. There. End of lecture.

Wouldn’t it be wonderful if that’s all it took?

If you’re a writer and if you’re serious about your work and if you want others to take you seriously, invest in your product (your writing, your cover, your book).

The rest of this post is assuming that you already are investing time and money into learning your craft (writing).

But the actual writing is only the beginning of the finished product. If you slap an amateur cover on your story, very few people will bother even picking it up. And even if it has a great cover, if the writing is replete with errors or the formatting is off— Well, let’s just say you’d be better off fishing than writing.

I’ve never understood this kind of reasoning. By all accounts, some people spend YEARS writing and polishing a novel. Then they have some amateur do the copyedit. They have another amateur do the cover. (Don’t try to convey the story on the cover. That’s amateur mistake number one.) Then they have yet another amateur do the formatting.

Seriously? Is that all your writing is worth to you? If so, what makes you think it’s gonna be work anything to a reader?

But you do have choices.

You certainly CAN do all those things yourself.

But you have to invest the time to educate yourself. There is a learning curve to being able to correctly format an ebook or lay out a print book. There is a learning curve to being able to grasp even the basics of cover design.

And you have to invest the money in professional programs (I recommend Serif’s PagePlus) so you can create your own eformatting and print layout and ebook and print covers.

Or you can invest money in paying other people—professionals, not amateurs—to do those things for you.

So what brought this up?

I recently was privy to see a piece of complete and utter literary garbage that was (from the front matter of the book) “printed with the Espresso Book Machine at The University of Arizona Main Library.” I kid you not.

Now it is not my intention to embarrass the author or the formatter. So if you know who he, she or they are, or if you think you know, please keep it to yourself. My only intention here is to use this excellent example of terrible formatting to provide you with a lesson in professionalism.

I can’t say whether the author believes that particular book has now been “published” by the U of A (it hasn’t) or what. Maybe the author uses the service because it’s free. I don’t know. What the “Espresso Book Machine” turned out was so terrible, I won’t even do the few minutes’ research to find out what it costs, whether it’s free, or anything else about it.

What I will tell you is this: Garbage in, garbage out. As I wrote earlier, even if your writing is excellent, if the formatting of the document you feed into the machine looks like garbage, what you get back will look like garbage.

Here’s my brief review. Remember, this is all formatting stuff, stuff that could EASILY be fixed if the person who formatted it had only cared enough about the final product to take the time.

The Table of Contents — The title of this page (Table of Contents) was in the same font, same size, and same attribute (normal, not bold, etc.) as the chapter heads or story heads listed below it. Capitalization of titles varied within the TOC and from the TOC to each individual actual story. The TOC itself was hokey. First was the title of the story, then a space, then the word “page” (yes, lowercase) and then a span of pages, for example 3-16. So in the table of contents, my fictional listing would look like this:

This Is The title Of my story                page 3-16

Overall Layout of the Book — The inside front cover (apparently) was the only title page. The title was at the top, the author’s name was near the bottom, and a page number was at the center bottom. (The title page should not be numbered.) There was no publishing information on the title page. (Usually the publishing company name and city is displayed there.)

The next page was the copyright page. It stated the year of copyright, but failed to mention in whose name the book is copyrighted. Seriously? Then the formatter skipped a line and inserted a dedication. Skipped another line and inserted permission for teachers to reprint parts for classroom use. (Yeah, that’s gonna happen.) Skipped one more line and added a simple disclaimer. Then skipped a few lines and inserted a brief paragraph blaming the Espresso Book Machine for this travesty, although that isn’t how they put it. Oh, and lest we forget, the copyright page is numbered page 2.

Page 3 is the previously discussed TOC, and the first story began on page 4, a recto. Later in the book, some stories began on the verso (left page of an open book, as they should) and some on the recto (right page of an open book).

Finally, on most pages the text began at the top of the page, but on some it began one or two lines down. The same spacing discrepancy appeared at the bottom of many of the pages.

Titles of the Stories — The titles of the stories were the same font, font size and font attribute as the body of the stories. (Usually the title is bold attribute and/or a larger font size. Sometimes it’s even a different but complementary font face.)

As I mentioned in the section on the TOC above, the titles of the stories varied with regards to capitalization. The fictional title above that read “This Is The title Of my story” in the TOC might have read “This is the title Of my Story” above the story in the book. I’m not kidding.

The position of the titles at the top of the page also varied. Some were left justified and some were centered. I suppose we could say it was a win that none of them was right justified, but was it really?

Apparently no standard was applied. The key for good and efficient formatting is standards. They can be your own, but you have to have them, and you have to apply them evenly throughout the work.

The Body of the Stories — The body of the first story was double-spaced with no extra spacing between paragraphs and with the first line of paragraphs indented. It would have been perfect if it were single-spaced. (Remember, this is for a print book.)

Hyphenation obviously was not turned on. As a result the text is broken irregularly with rivers of wide white space running diagonally through the text.

That formatting lasted from page 4 (the first page of the first story) through the first full paragraph on page 8. After that there was an extra space between that paragraph and the next. Then it returned to no spacing after paragraphs until page 13, where the anomaly happened again.

Then it continued normally again until page 17 where the anomaly occurred twice in a row. Finally the story ended suddenly without any sort of signifier such as “The End” or a series of asterisks or a demand to “Go Away.”

The second story was formatted differently. It was left justified, single spaced, with a space after each paragraph, and without first-line indents. Great for a blog post. Pretty good even for some nonfiction print applications. Not so much for a story in a collection of short fiction.

The third story was formatted the same as the second, except in some places it looked as if there was no space between two paragraphs.

The next several stories were formatted the same as the second and third, with no first-line indent, block paragraphs, left justified, and a space between paragraphs. Except sometimes there were two spaces between paragraphs.

About the only thing that was consistent (except among titles) in the formatting of this book was that it was left justified. And that’s the easiest overall problem to fix. Most books of this type are full justified.

This truly was an ugly, ugly book. You’ve heard the jokes. They all apply. “This book is so ugly it would make a train take a dirt road.” “This book is so ugly when it walked into the library they turned off the cameras.” “This book is so ugly, if the author dropped it off at a school he’d get a ticket for littering.”

Oh yes. It was that ugly. And I make that assessment without having actually read so much as a coherent sentence of the actual writing. I never got anywhere close to actually reading. Would you?

Now again, to be fair, the Expresso Book Machine is ONLY a machine. It was not at fault for this thing. Whoever formatted the Word file for the author was at fault. The author should fire whoever laid out this travesty, immediately and with extreme prejudice.

Even if it was the author himself.

Maybe ESPECIALLY if it was the author himself.

Do you understand? If you put out a piece of garbage like this, it won’t matter how good the writing is because the reader won’t get that far.

So as I wrote at the outset, when it comes to downgrading your own work by going on the cheap, Just Don’t Do It. If nothing else, when you’re ready to get a cover and format or lay out your book, think for a moment about the effort you put into writing it. Then simply respect that effort.

And if you want a great copyeditor and formatter (both ebook and print) and cover designer, check out Arena.

There. End of lecture. Again.

‘Til next time, happy writing.


Note: If you find something of value in these posts or on this website, consider dropping a tip into Harvey’s Tip Jar on your way out or just click paypal.me/harveystanbrough. If you’ve already contributed, thanks so much. If you can’t make a monetary donation, please consider forwarding this post to a friend or several. (grin) Again, thank you.

Exclusivity = Professional Suicide

Well, maybe not suicide, but at least a really severe professional mangling.

Hey Folks,

I’ve recently become aware there are still some writers out there who have made a conscious decision not to publish their work through Smashwords. Frankly, I suspect that’s due in part to the Smashwords Style Guide being so stinkin’ convoluted that it’s difficult to read, much less understand.

That’s okay. I agree.

In fact, I agree so much that after I finally figured out the process (back in 2011) I wrote an alternative instruction book titled The Essentials of Digital Publishing.

I’ve sold a few thousand copies of that ebook around the world. I’ve sold several hundred copies through Amazon, a few dozen through Barnes & Noble, several hundred more through Apple, and the rest through Library Direct, Baker & Taylor, Page Foundry, Scribd, TXTR, Oyster, Flipkart, Kobo, OverDrive and the Smashwords store. (Before they went under, I also sold many copies through Diesel and Sony.)

The thing is this: If I had sold exclusively to Amazon, I would have sold several hundred copies (around 800) of that book over the past five years. Because I did NOT slice away a massive chunk of the reading public by bending to Amazon’s exclusivity clause, I’ve sold just over four THOUSAND copies instead.

Now, The Essentials of Digital Publishing sells on Smashwords for $9.99. My royalty is $7.99 for every copy sold through Smashwords. For copies sold through other stores (for those listed above, Smashwords is the distributor), my royalty is $6.63 per copy. For copies sold through Amazon, I receive $6.99 per copy.

You can do the math. (This doesn’t give you exact figures because I’ve changed the price on the book a couple times, etc.)

Now understand, I don’t just have the one book up there for sale. I currently have around 90 short stories up for sale as well as 9 novels and around 14 nonfiction books, including The Essentials of Digital Publishing.

All of those are for sale in all of the venues I mentioned above.

Imagine all the sales I’m missing if I go exclusively with Amazon?

But like I said up front, I suspect a lot of you are toddling off into exclusivity land because you have trouble following the Smashwords Style Guide. And as I also said up front, I don’t blame you.

So here’s the deal. You can go, right now, to my new daily blog over at http://FrostProof808.com. When you get there, click on the new Downloads page I just put up. You can download any or all of the documents listed there absolutely free of charge.

That includes the third item, The Essentials of Digital Publishing. It’s a $9.99 value and it’s FREE. C’mon, you can’t beat that deal with a stick.

And I don’t want anything in return.

While you’re there, if you look over a few of the recent blog posts and find them of interest, sign up. That’s free too, at least for the time being. That site takes a lot of my time and I add a new topic of the day almost every day, so I might make it a paying site before too long. But those who are already signed up will continue without paying.

Also, if you find the site of interest or the information there valuable, please consider dropping something in my tip jar on the way out. There’s a link on the bottom of the page there.

And if not, absolutely no worries.

Now go, download, learn to format your Word document for Smashwords AND Amazon and stop cutting off about 2/3 of the readers in the world.

Happy writing!


Note: Eformatting your own work isn’t for everyone, even after following my excellent instructions (grin). If you’d rather hire someone to do that for you, email me at harveystanbrough@gmail.com and I’ll pass along the names of some folks who do excellent work at fair prices.

Note: If you find something of value in these posts or on this website, consider dropping a tip into Harvey’s Tip Jar on your way out. If you’ve already contributed, Thanks! If you can’t make a monetary donation, please at least consider forwarding this post to a friend or several. Again, thank you.

10 Mistakes Authors Make That Can Cost Them a Fortune (and how to avoid them)

Hi Folks,

The Microsoft Word for Writers series will return on October 30, but right now I wanted to share this very important reprint with you. I’ve trimmed away the non-essentials but kept the main points and the rationale. I’ve indicated omissions with an ellipsis. This series of excerpts is reprinted with permission from “The Book Marketing Expert newsletter,” a free ezine offering book promotion and publicity tips and techniques. http://www.amarketingexpert.com. Where I added anything, it’s inside brackets.


When it comes to books, promotion, and book production I know that it can sometimes feel like a minefield of choices. Although I can’t address each of these in detail, a number of areas are keenly tied to a book’s success (or lack thereof). Here are ten for you to consider:

1) Not Understanding the Importance of a Book Cover—Authors will sometimes spend years writing their books and then leave the cover design to someone who either isn’t a designer, or doesn’t have a working knowledge of book design or the publishing industry. Or worse, they create a design without having done the proper market research. … A survey of booksellers showed that 75% of them found the book cover to be the most important element of the book. Finally, please don’t attempt to design your own book cover. Much like cutting your own hair, this is never a good idea. {Recommendation: Professional EBook Cover Design}

2) You Get What You Pay For—There’s an old saying that goes You can find a cheap lawyer and a good lawyer, but you can’t find a good lawyer who is cheap. … If a deal [in marketing services] seems too good to be true, make sure you’re getting all the facts. Just because they aren’t charging you a lot doesn’t mean they shouldn’t put it in writing. And by in writing I mean you should get a detailed list of deliverables. Finding a deal isn’t a bad thing, but if you’re not careful it might just be a waste of money, so ask good questions before you buy. {Recommendation: Whether or not you do it yourself, treat marketing your book as if it’s a business, because it is. You have to work it constantly. See Angela & Richard Hoy’s 90 Days of Promoting Your Book Online}

3) Listening to People Who Aren’t Experts—When you ask someone’s opinion about your book, direction, or topic, make sure they are either working in your industry or know your consumer. If … you’ve written a book for teens, give it to teens to read. Same is true for self-help, diet, romance. Align yourself with your market. You want the book to be right for the reader. In the end that’s all that matters.

4) Hope is not a Marketing Plan—Hope is a wonderful thing, but it isn’t a marketing plan. Hoping that something will happen is one thing, but leaving your marketing to “fate” is quite another. … When it comes time to get your book out there, you need to have a solid plan in place or at the very least a set of actions you feel comfortable working on. … Once your book is past a certain “age” it gets harder to get it reviewed so don’t sit idly by and hope for something to happen. Make it happen. A book is not the field of dreams; just because you wrote it doesn’t mean readers will beat a path to your door.

5) Work it, or Not—Book promotion should be viewed as a long runway, meaning you should plan for the long term. Don’t spend all your marketing dollars in the first few months of a campaign. Make sure you have enough money or personal momentum to keep it going. Whether or not you hire a firm you must work … your marketing plan. Publishing is a business. You’d never open a store and then just sit around hoping people show up to buy your stuff. You advertise, you run specials, you pitch yourself to local media. You work it.  … Time will pass anyway. How will you use it?

{Folks, me again. For a limited time you can get a free, printable PDF copy of the ebook gleaned from my recent seminar, Emarketing & Social Media. Just Click Here. Okay, back to the blog post.}

6) Not Understanding Timing—Be prepared with your marketing early. … Timing can affect things like book events (especially if you’re trying to get into bookstores). Understand when you should pitch your book for review, start to get to know your market and the bloggers you plan to pitch. Create a list and keep close track of who to contact and when you need to get your review pitch out there. … A missed date is akin to a missed opportunity. {Recommendation: Keep in mind “major” dates for booksellers, like just before the holiday season, spring break, and summer reading.}

7) Hiring People Who Aren’t in the Book Industry—Hiring someone who has no book or publishing experience isn’t just a mistake, it could be a costly error. … Make sure you hire the right specialist for the right project. Also, you’ve probably spent years putting together this project, so make sure you make choices based on what’s right and not what’s cheapest. If you shop right you can often find vendors who are perfect for your project and who fit your budget. {Recommendation: While you’re here anyway, look around HarveyStanbrough.com for professional services from a successful writer, editor and publisher.}

8) Designing Your Own Website—You should never cut your own hair or design your own website. Period. … Let’s say you designed your own site which saved you [a few to several hundred or even] a few thousand dollars paying a web designer. Now you’re off promoting your book and suddenly you’re getting a gazillion hits to your site. The problem is, the site is not converting these visitors into a sale. How much money did you lose by punting the web designer and doing it yourself? Hard to know. Scary, isn’t it? {Recommendation: Don’t Do “Free” Sites. Pop-up ads and scrunched-up, out-of-the-box designs are not professional. Decide whether you want to put a professional face on yourself as a writer, and then choose accordingly.}

9) Becoming a Media Diva—Let’s face it, you need the media more than they need you, so here’s the thing: be grateful. Thank the interviewer, send a follow up thank-you note after the interview. Don’t expect the interviewer to read your book and don’t get upset if they get some facts wrong. Just gently, but professionally, correct them in such a way that they don’t look bad or stupid. Never ask for an interview to be redone. … The thing is, until you get a dressing room with specially designed purple M&M’s, don’t even think about becoming a diva. The best thing you can do is create relationships. Show up on time, show up prepared, and always, always, always be grateful.

10)  Take Advantage—There are a ton of resources out there for you. … The resources and free promotional tools that are out there now are almost mind-numbing, … things like social media. … Many authors rock out their campaign by just being on Facebook, or Wattpad or Goodreads. … Find out for yourself what works and what doesn’t. When it comes to marketing, the mistakes can cost you both time and money. Knowing what to do to market your book is important, but knowing what to avoid may be equally as significant.