Respect Your Buyer with Interior Book Design

The following scenario is familiar to every book designer. As happens quite often, I received a call from a prospective client who had just finished writing her book.

“I’m brand new at this,” she admitted. “I’m not even sure what questions to ask, but your site feels very welcoming, and your promise of hand holding is exactly what I need.”

I thanked her for the kind words, assured her that most of our clients were new to publishing, and that we’d be happy to guide her every step of the way. I assured her that we would recommend only services that were needed, and we would never “upsell” services that were not necessary, as many “self-publishing companies” do.

After learning that her manuscript had already been edited by a pro, and that her goal was to sell books on Amazon in a very crowded genre, I recommended book cover design, interior layout, and proofreading. I told her an index probably wasn’t necessary, given that her book was divided into 10 lessons, but in its place a detailed table of contents might be useful to the reader.

So far, so good. Then she uttered the words that send book designers everywhere over the edge: “I layed out my book in Word, 6×9, and it came out to 365 pages. It looks just fine, and I don’t want to spend that much money for you to design and typeset it. Would you look at what I did and let me know what you think?”

“Sure,” I said. I braced myself for the promised email with her “layout.”

When it arrived, I was not surprised to see that every single rule of book design was broken. I couldn’t find even one aesthetically pleasing element in the book, and except for the page size, it looked exactly like a manuscript.

The text was set in 12-point Georgia, with 1.5 line spacing, and it was not justified.

Quotations and their accompanying citations, an essential element of this self-directed Bible study guide, were set exactly like the surrounding text and difficult to find.

Chapter titles were bold, but the same size as the text. They were placed at the top margin, not moved down on the page, a standard technique that gives the reader a visual cue that a new chapter is at hand. No extra space was added between the chapter title and the first paragraph of text.

There were many instances of double spaces between words and I found half a dozen typos in just a quick scan though the document. Clearly, this book needed more proofreading than had been done to this point.

I sent an email with my assessment to give the author time to think and respond.

“You’re about to make a terrible mistake,” I wrote. “A very common mistake made by self-publishers.”

I explained that if she went forward with this Word layout (assuming it could even be printed) that reviewers and retailers would immediately flag her book as a homemade job and reject it out of hand.

I added that reviewers on Amazon would deduct stars for the typos and the difficult to read text, and that this would affect sales.

Last, I explained that this homemade layout would cost her extra money for every copy printed, because a typesetter would choose a more efficient font and adjust the line spacing to reduce the page count considerably.

I attached samples of similar books we had designed to demonstrate what a well-designed book interior looks like, took a deep breath, and hit the send button.

I’m delighted to report that this story has a happy ending; the author ordered interior design. I tell this story because for every author I convince, there are probably hundreds of others formatting their book in Word right now, and someone has to stand up for the book buyer.

Don’t you feel betrayed when a company uses a pretty package to entice you to buy a poor product? I do. When authors wrap a good cover around a poor interior, they’re committing the same offense. How many times can this happen before buyers conclude that books are not worth the risk?

It wasn’t so long ago that book buyers could count on a well-researched, well-edited, beautifully designed and carefully printed book for their money. Do we really want to change that expectation?

And what about the ambitious new publisher, whose high hopes are dashed when the bad reviews on Amazon start rolling in? Too many self-publishing “gurus” are teaching new authors that it’s OK to abandon traditional publishing standards. I think there’s something terribly sad about that, and I hope you do, too.

Excuse me while I talk to this author about proofreading…

Mistakes Love to Play “Hide and Seek”

(This post was previously featured at Authopublisher.com)

We all make mistakes

Everyone who writes understands the importance of proofreading. Whether you have just finished your first one-sheet or your twentieth 50-page report, you WILL find errors in it, guaranteed.

Book publishing is no exception. It’s truly astonishing how many mistakes come out of hiding every time you read your manuscript, no matter how many times you read it, even after it has been edited by a pro. Authors everywhere scratch their heads and ask, “How could I have written that?” and just as often, “How could I have missed that?” This is why professional proofreading is a must if your goal is to release a quality book.

You can’t outwit the human brain

It’s not enough to read your own work, or ask friends and family to do the same. The human brain is a funny thing. Once we read material more than once, we see what we expect to see. We know what we mean to say, so when we read our own words, the message is perfectly clear. Outside proofreaders, preferably specialists in book publishing, are a stand-in for your eventual reader. In addition to finding errors that almost got away, an experienced proofreader will zero in on text that may not be clear to someone reading it for the first time.

Publishing methods evolved for a reason

This is a message we deliver over and over again to our clients. We almost beg them to edit their manuscript and proofread it, multiple times, before interior design begins. Then we recommend an additional round of proofreading after the book has been layed out. Why? If you think errors hide out in Word, you won’t believe how they’ll pop up in text that has been carefully formatted in InDesign.

The standard work flow in book publishing has always been: edit, proofread, typeset, then proofread one final time before printing. Unfortunately, this quality control process has too often been abandoned by self-publishers, with the result that many books on the market today are riddled with errors.

Book publishing should be fun, not a nightmare!

For the good of your book, as well as to deliver true value to your readers, please invest in professional editing and proofreading before book design begins, and again after your book has been designed. You won’t believe how many errors will be found. Your readers will appreciate the quality, and post good reviews on Amazon instead of complaints.

Book Design Demystified

(Originally published at Authopublisher.com)

I Need a Book Designer?

Seven years ago, when self-publishing was just beginning to take off, I talked with author Jane Kimball, who had recently learned from a book printer that the services of a book designer were required before her book could be printed.

Thus began our nearly year-long association to design her masterwork, Trench Art: An Illustrated History, a 400+ page, full-color book featuring more than 1,000 items from her personal collection of war souvenirs. These artifacts, collectively known as trench art, were meticulously crafted by soldiers from spent shell casings and other materials beginning in World War I.

“I didn’t even know there was such a thing as a book designer!” she quipped.

“That’s alright,” I replied. “I didn’t know there was such a thing as trench art!”

I relate this story because at the time I was taken aback by Jane’s comment. Until then, every customer who came to us already understood what we did. It wasn’t necessary to explain our services. The landscape, I realized, had changed, and it remains so to this day.

In subsequent conversations, Jane taught me that book design and production is a very scary subject to many first-time authors, who worry that hiring experts will cause them to lose control of their “baby.”

What follows is a brief description of a typical book design project that will hopefully put your mind at ease. Far from losing control of your book, you’ll actually collaborate closely with experts every step of the way to make your book the very best it can be.

6 Steps to a Quality Book

Step 1: Cover Design

The first task in preparing a book for publication is Book Cover Design. The designer will ask for a synopsis of your book and ask about your goals and your intended audience. He/she will then find appropriate images and fonts, and create a design that is in line with similar bestselling books on the market. This ensures that your cover will look as good as, or better than, the competitive titles that will displayed alongside it online. A good cover is absolutely essential to the success of your book. Cover design is not the place to save money. Most designers will adjust their services to your budget, if you ask.

Step 2: Manuscript Editing

The benefits of Professional Editing, offered by an experienced book editor, cannot be overstated. When we read our own writing, we know what we mean to say, so our brain fills in the gaps. The fresh eyes of an outside editor will find and correct these gaps for a smoother reading experience, without changing your style or your voice. Authors can always decline the editor’s suggestions, but most are pleasantly surprised at the skills an editor brings to the table.

Step 3: Interior Layout (aka Typesetting)

When editing is complete, the next step in book production is Book Interior Layout, also known as Typesetting. Designers usually show one or more sample interior designs to give the author an opportunity to compare different type fonts, type sizes, chapter openers, sidebars, and other decorative elements that may be employed to enhance the appearance of the text. Once a sample chapter has been approved, the rest of the book is typeset to match. You’ll be amazed at how much better  your text looks, compared to the original Word document, when it is designed by a pro.

Step 4: Proofreading

After Interior Layout, the next step in the book production process is Proofreading. Proofreading should always be done after the book is typeset (as well as before). Those pesky typos, extra word spaces, and unnecessary tabs that escaped detection in Word stand out like a sore thumb in typeset text. Many self-publishers unfortunately decline this service, thinking it’s not needed, to the detriment of their book. I can attest that we have never once proofed a book without finding errors, sometimes hundreds of errors, even when the manuscript was previously edited.

Step 5: Corrections and Final Review

Once Proofreading is complete, and the errors identified by the proofreader are fixed, it’s time to read the book from start to finish one final time. Yes, I know, you just can’t stand to read it one more time . . . but you must. There’s an old saying in publishing, “You don’t complete a book; you declare an ending.” The proofreading and correction process never really ends, but at some point you just have to go to press.

Step 6: Digital File Prep

The final step in the production process is to prepare the digital files for printing. You can relax at this stage, because this behind-the-scenes geeky stuff is entirely the responsibility of your designer. This final step ensures that your book will print successfully.

So, How Long Does All This Take?

It’s always good to schedule far more time than you think you’ll need for book production. I recommend at least 2 weeks each for steps 1-5 above, though some services, such as cover design and editing, can be worked on concurrently. If you must have books in hand by a specific date, be sure to tell your designer, so the two of you, along with the eventual printer, can create a schedule with milestones to make it happen.

How Much of My Time is Required?

That depends on your experience, your personality, and your available time. Many authors relish the “hands-on” approach and enjoy the prospect of talking with multiple providers. Others prefer to hand the project over to a company that will manage the entire project for them. Fortunately, providers are available to suit every preference.

Experts = An Enjoyable Process and a Better Book

The fear of losing control prompts many first-time authors to adopt the “do-it-yourself” approach, or to sign up with huge “self-publishing factories” who produce terrible work for very low fees, but both of these approaches are usually a mistake. Experts abound in every area of life, from medicine to pest control. Their knowledge and experience, even in areas that may seem low skilled or mundane, enhance our lives and give us far better products and services than we can ever hope to produce on our own. Book design is no exception.

If you’re about to enter one of the most brutally competitive industries on the planet, I hope this post has helped to clarify the process so that the book design process is an enjoyable one and the book you eventually offer to the public will be the very best it can be, and one that you will be proud to market.

How Do I Copyright My Book?

One of the first questions asked by new self-publishers is, “How do I copyright my book?”

Technically, copyright is automatic, by virtue of the fact that you wrote the manuscript. While copywriting your book is not required, following the simple steps to “deposit” and register your work with the US Copyright Office gives you an additional advantage in the event someone plagiarizes your work.

Your book can be copyrighted either before or after publication, either in hard-copy form or electronically. As you might expect, the electronic alternative is faster, easier, and less expensive. This method also offers the ability to monitor the status of your application online.

Basic instructions from the US Copyright office begin here:

http://www.copyright.gov/fls/fl109.html

This page contains links to other resources that will help you make the decisions that are best for your situation.

Most authors are surprised to learn that only the content of a book can be copyrighted; individual book titles are not protected by copyright law. A quick trip to Amazon will confirm that many books share identical titles. Milions and millions of books have been published. There simply aren’t enough words in the English language for each of them to have a unique title.

Series titles are another matter. These can be protected under trademark law. Trademarks are granted on a first-come basis, so it’s important to conduct a screening search to make sure your intended series title is not already in use.

A discussion of this topic and other publishing-related legal issues can be found at www.copylaw.com and many other websites.

Copyright and trademark issues are much more complex than they seem. It’s possible, but may not be advisable, to “do-it-yourself.” There’s no substitute for a consultation with your own attorney, who will apply his or her in-depth knowledge of the law to your unique publishing situation.

Publishing Wisdom from Goldilocks

We all know the story of Goldilocks and the The Three Bears. In her exploration of the bears’ home, Goldilocks judged the three bowls of porridge to be too hot, too cold, and just right. She judged the three chairs as too big, too small, and just right. Finally, she judged the three beds as too hard, too soft, and just right.

Of course, Goldilocks forgot all about her preferences as soon as the three bears came home, when she rightly bolted out the door to save her life. The Goldilocks character is a pretty good metaphor for clients, I think.

To switch stories for a moment, a few weeks ago I was listening to a financial advisor on the radio. “Visit my web site and fill out the contact form,” she said. “I’ll be in touch to learn about your needs and explore how my company can help you.” She seemed knowledgable and genuinely interested, so expecting a personal follow-up, that’s exactly what I did.

Instead, I received a postcard in the mail, inviting me to a restaurant torture session, where I and a hundred others would be bribed by a free lunch to endure a “one-solution-fits-all” lecture. What a letdown.

Like Goldilocks, or any prospective client, I was looking for a financial advisor who was “just right” when I contacted this company. No matter the product or service being purchased, isn’t that what every client seeks…and deserves?

Too many companies today, especially the dreaded “self-publishing companies,” cruelly peddle one-size-fits-all solutions to hopeful authors. Instead of a custom analysis of the author’s needs by a publishing expert, a phone room full of high-pressure sales consultants use carefully crafted scripts to steer authors into pre-defined package deals that maximize company profits.

What on earth has happened to American business, and why aren’t we all bolting out the door just like Goldilocks did?

1106 Design is a publishing services company that

* appreciates the value of a one-on-one conversation;
* will honestly tell you when you don’t need one of our services;
* works with you to craft a top-quality book that will help you achieve your unique publishing goals; and
* offers the convenience of project management.

If that sounds good, contact us today. 1106 Design is small enough to deliver quality work with all the hand-holding you need, and large enough to get the job done quickly and conveniently. As Goldilocks might say, “1106 Design is just right.”

Book Cover Design for a Series

When we work with clients who are planning a book series, two questions frequently come up:

After the first cover is designed, what will you charge me to design the others?

The answer is, it depends on the degree of change needed. Authors and publishers of a series should be aware of the issues involved and ask plenty of questions in advance to avoid unpleasant surprises later.

Some designers hold that a new title triggers a full design fee, even if it’s clear that they’ll spend very little time on the job.

We were recently hired by a publisher to create the second cover in his series. He had every intention of hiring the designer of his first cover for the second book. He explained that the cover image and the series title would remain the same, and only the subtitle and back cover text would change.

When he was told by the original designer that this would be considered a new title and a full redesign cost, he rightfully considered this a “gotcha.” We negotiated a fair price that would cover our time, a price that was less than the original designer wanted.

The above example is the simplest situation, and an uncommon one. Most follow-on covers in a series involve more work than many authors realize. We’ll often be asked, “Doesn’t it take just a few minutes to swap out the image and type over the old title with the new one?” In a word, no.

Changing the image involves finding (or creating) one that is compatible with the first cover. Even if the publisher provides the image, it almost always contains different colors and may have different proportions.

In a series design, it’s essential to communicate to the buyer that the titles are related, and at the same time, unique. Changing the picture usually means changing the background color and the color of the front cover text. If the new image cannot be cropped to the same proportions that were used on the first cover, then it can take considerable time to rearrange all the elements while remaining true to the established design.

At 1106 Design, we typically recommend our Level 1 Cover Design for the first book in the series, so that the publisher has access to all the information necessary to design the series correctly from the start. Then we recommend our lower levels of design for the follow-on titles. Sometimes we negotiate a different solution, again depending on the amount of work involved.

The second question we often hear from authors is:

Will you give me the files from the first cover so I can design the others myself?

This request is rooted in a misunderstanding of the issues involved in cover design. In addition to the easily seen elements of cover design, there are many unseen elements that designers attend to behind the scenes, including the proper preparation of the digital files required by the printer.

We often talk to authors who purchased the software they thought they needed, spent countless hours trying to master it, and then were disappointed to discover that their printer rejected the files.

Publishing one book can be a hobby or a business. Publishing a series is always a business. Contact us today to get the expert help you need to launch your book business in the best possible way.

Why Book Publishers Need a Corporate Image

What is a “Corporate Image” and Why Does It Matter?

A professionally-designed book cover is absolutely essential when it comes to marketing your book. If your book looks good and stands out from the crowd, it has a better chance to sell.

The exact same principle also applies when prospective buyers are viewing the marketing materials of your publishing company. It’s imperative to cut through the clutter, establish credibility, and help busy buyers pay attention to your sales message.

A “corporate image” is a graphic “plan” that  begins with a professional logo and carries on with consistent use of type fonts, colors, even the arrangement of elements on the page, that will identify your publishing company to the prospective buyer before they have a chance to read one word. For an example of this, notice your own response to printed materials, and how you instantly recognize that a flyer or insert is from a particular store, without the need to actually see the store’s logo.

The same principle can be employed to your benefit as a publisher. It doesn’t matter if you publish one book or a hundred, buyers will likely see your marketing message more than once before they buy. They want to do business with a company that will be there tomorrow. Since they can’t meet you personally, the only way they can judge the reliability of your company is from your marketing materials.

Every contact you make with a potential buyer sends a message about your publishing company, whether it is a postcard, bookmark, sell sheet, book signing announcement, letter, or website. If  all of your materials are designed with a “family look,” you can maximize recognition of your company and communicate to your prospective buyer that you are a stable, reliable source for the information they seek. Plopping a professionally designed cover on a homemade flyer sends the opposite message.

Corporate Image Step One: A Professional Logo

The first step to a professional corporate identity is to design a logo that reflects the vision and purpose of your publishing company. The best logos are simple and should be designed to look contemporary for a minimum of 10 years. Your designer will present a number of ideas and refine them until you are delighted with the result.

A logo isn’t just a design for one purpose today, but also for many purposes in the future, so there are some considerations to discuss with your logo designer as work proceeds. A logo should be designed to look good in black and white first, because that’s how it will often be seen (on faxes and invoices, for example). Color enhances, but is never a substitute for, strong design.  If your logo doesn’t work in black and white, it simply doesn’t work. A strong logo design can be printed in black and white or one color, saving you money on printing down the road.

Logos should also be designed so that they can be used anywhere: on a book spine, on a billboard, on a banner, even engraved in metal for an office sign. Once the basic logo design is established, publishers generally need two or more versions of a logo — a vertical logo for book spines, and a horizontal version for brochures and correspondence.

If you’re tempted to acquire a logo on the cheap from a contest site or $99 logo design sites, be careful. Many customers have presented such logos to us, only to be disappointed when we tell them that the type is unreadable on a book spine, or that the logo has been created in a format that is not easily adjustable for other purposes.

Corporate Image Step Two: Written Graphic Standards

Step two in the establishment of a professional corporate identity is to write down design standards so that all of your marketing materials will have a consistent look. These standards define the size and position of your logo, as well as type faces and colors to be used consistently, so that your marketing materials won’t drift into uncharted territory every time a new item is designed. Your designer can write a graphic standards manual that explains how your logo is (and is not) to be used. With this document for reference, every marketing piece you produce now or in the future, either in house or with the help of an outside designer, will be consistent.

How Can I Minimize Costs While Projecting a Consistent Corporate Image?

A professional corporate identity consistently applied needn’t be expensive. While it’s convenient to call a quick printer every time you think of a new marketing piece, planning ahead can save you significant money on printing. Designers can suggest ways to stretch your printing budget that will still allow you the flexibility to update materials on your desktop whenever the need arises.

For example, if you know you’ll be sending out mailers every two months for the next year, you can realize savings by printing “shells” in color and then updating the message in house on your laser printer.

Another way to save money on printing is to produce bookmarks and postcards at the same time that your book cover prints. Not all book printers will do this, but even if they don’t, you can get the most for your printing dollar locally by “ganging up” your printing jobs instead of ordering each project individually.

Someone once said “the most expensive brochure is the one that doesn’t work.” Reserving a portion of your production budget for a professional logo and designed marketing materials will pay for itself many times over.

Follow Michele on Twitter.

1106 Design works with authors, publishers, business pros, coaches, consultants, speakers . . . anyone who wants a beautiful book, meticulously prepared to industry standards. Top-quality cover design, beautifully designed and typeset interiors, manuscript editing, indexing, title consulting, and expert advice. All available from one convenient source. All offered with our most important service, hand-holding. Attractive pricing choices to fit almost any budget. Prompt, personalized service. Satisfaction guaranteed. We’ll take better care of you and your book than any “self-publishing company.” How may we help you? Post your comment here or email us at office@1106design.com

Book Design and Self-Publishing Questions? Ask Them Here.

New self-publisher have questions. Lots of them. This post is an experiment. Ask your question here, and we’ll do our best to answer it, or find an expert who can. Your question can be on almost any topic related to book design: covers, interior design and typesetting, editing, indexing, best POD printer, whatever is on your mind.

1106 Design works with authors, publishers, business pros, coaches, consultants, speakers . . . anyone who wants a beautiful book, meticulously prepared to industry standards. Top-quality cover design, beautifully designed and typeset interiors, manuscript editing, indexing, title consulting, and expert advice. All available from one convenient source. All offered with our most important service, hand-holding. Attractive pricing choices to fit almost any budget. Prompt, personalized service. Satisfaction guaranteed. We’ll take better care of you and your book than any “self-publishing company.” How may we help you? Post your comment here or email us at office@1106design.com

When I Want Your Opinion, I’ll Give It To You

Ah, human nature.

I just came across this post by Irene Watson, owner of Reader Views, a long-time and well-regarded source for book reviews in the publishing industry. In it, Irene describes how she was taken aback by an author’s accusation that her staff was not professional for offering an objective opinion about the book:

http://www.bloggingauthors.com/blogging_authors/2011/3/13/authors-tell-the-truth-and-you-will-gain-brownie-points.html

Don’t feel bad, Irene. Welcome to the club. The same thing happened to us last month.

We were hired to design a book cover. It was to be the first in a series, so naturally we  wanted to make sure this first book was as strong as it could be to establish interest in future titles.

As always, we began the job by asking the author for his thoughts. After all, we want to design in the right direction from the start, and nobody can know  a book better than the author, right? Well, in this case, not so much.

The author’s first mistake was a misleading title. It had nothing to do with the content of the book, and it contained a word that any reasonable person would associate with the offerings of  a very large company. Perhaps not a trademark in the legal sense, but certainly an association that could pose a problem. When  I brought this up, his response was, “It will be good publicity for my book if a big company goes after a little author like me.” Hmm.

The author’s second mistake was to choose a cover graphic that had nothing whatever to do with the subject. And I mean nothing. We’ve seen a lot of strange choices in cover graphics over the years, but this was beyond the pale.

Shortly after our conversation, I received an email from the author’s business partner. “Tell us what you really think,” he wrote. “We’re new at this, and we want to be sure we’re heading in the right direction.”

Silly me, I believed him.

I wrote back that we had discussed his title and cover graphic and we didn’t get the connection between the two. We were promptly fired, with the accusation “Well, if you don’t get it, we’ll need to work with someone who does.” Hmm.

I won’t tell you the name of the book, because the author is an attorney, and I’ve got better things to do with my time than defend against a lawsuit. But really, was this response even remotely sensible? Why did he ask for an honest opinion, if he didn’t really want one? And further, why did he hire us if he planned to tell us what to do?

When I was growing up, my parents were in awe of experts: doctors, lawyers, priests. They never would have questioned, let alone argued with, the advice of someone far more educated than themselves.

Today, the pendulum has swung too far in the other direction. Self-esteem has become so inflated that many people won’t believe the advice of others who really do know more.  Like authors who write their own titles, choose their own cover graphics, design their own book covers, and insist that laying out a book in Word is sufficient. A curious blindness sets in, and the amateur results are judged to be “as good as” professional work.

I’m not saying we should go back to the days when experts were all-powerful people who regularly intimidated their clients. But can we take just a few steps back in time, and recognize that we all have different areas of expertise? I think Irene would agree, and I hope you do, too.

As to the author of the above book, you can bet I’ll be watching Amazon to see what happened.

1106 Design works with authors, publishers, business pros, coaches, consultants, speakers . . . anyone who wants a beautiful book, meticulously prepared to industry standards. Top-quality cover design, beautifully designed and typeset interiors, manuscript editing, indexing, title consulting, and expert advice. All available from one convenient source. All offered with our most important service, hand-holding. We’ll take better care of you and your book than any “self-publishing company.” How may we help you? Post your comment here or email us at office@1106design.com

35 Classic Mistakes Publishers Make That Limit Their Sales and Success

Guest post by Alan Korwin, owner of Bloomfield Press

1. Not recognizing you’re going into business, you’re not just writing
2. Being undercapitalized (examine the basic costs, $5-10K)
3. Not knowing the last 10% is 90% of the job; you don’t finish, you declare an ending
4. Failure to write a one liner, one graf and one-page description prior to completion
5. Failure to market early and get advanced orders
6. Forgetting you don’t have to write ’em to sell ’em—and not offering a line of books
7. Using small artsy cover text instead of a large and easily readable title
8. Using a local printer instead of a book manufacturer (insufficient margin, do math)
9. Using POD instead of making inventory, limiting (eliminating?) profitability
10. Not identifying your audience carefully in advance
11. Going after general audiences instead of target-rich ones
12. Designing the cover by yourself instead of working with a pro
13. Working in isolation (as in, without your industry’s groups)
14. Picking the wrong cover price (too much or too little)
15. Keeping acknowledgments short instead of recognizing all supporters
16. Forgetting to overrun the covers for promo use
17. Putting out literature, instead of handing out literature
18. Failure to give away books like mad
19. Failure to get Kremer’s book, 1,001 Ways to Market Your Books
20. Failure to have books and promo with you at all times
21. Failure to put your book out where people can see it everywhere you go
22. Failure to inform any interviewer of your one-liner bio and website
23. Failure to write and issue “White Papers” to establish your expertise
24. Referring to your book without using its title
25. Waving your book or failing to hold it next to your face during video interviews
26. Running out of business cards
27. Not having a ready-to-go bag for appearances
28. Not having extra books, promo and biz cards in your trunk always
29. Having no name badge made from your book cover, spare in car
30. Having to fumble to get to a business card
31. Stumbling on your elevator speech, or not even having one
32. After initial-release announcements, make all PR s/b subject not book oriented
33. Remember to get spine width from printer, and use all the real estate for your title
34. Stack book cartons at home in tight piles, wrap in cloth like gifts, use as furniture
35. Get TextExpander and conserve your time and fingers

This list is generally framed as mistakes publishers frequently make. It can easily be reversed and framed positively, as things you should do to help ensure your success. Trying rewriting it mentally, it’s a beneficial exercise.

Alan Korwin
BLOOMFIELD PRESS
“We publish the gun laws—word-for-word, and in plain English.”
4848 E. Cactus #505-440 • Scottsdale, AZ 85254
1-800-707-4020 Orders • 602-996-4020
info@gunlaws.com
GunLaws.com

Next Page »