book marketing

Writers & The First Moment of Truth

In our previous posts on Writers and Micro Moments and the Writers & the Zero Moment of Truth we looked at the importance of understanding a reader’s “journey” and the “micro moments” within that journey.

The journey motif is a strong one in the Customer Relation Management and Cloud Marketing communities. Salesforce, for example, has a “journey builder,” a customer interaction mapping tool. And Google has a treasure trove of excellent articles on those moments when a person wants to know, go, do, or buy.

Writers who are looking to market and sell their books do well to understand what is needed in each moment of their potential reader’s journey of discovery and determine what kind of content the reader might need to help them move down the path, or “funnel,” to a transaction. In short, to quote Mike Grehan of Acronym Media, writers need to map their reader’s “intent with the right content response.”

Which brings us to the First Moment of Truth (FMOT). FMOT is a concept first advanced by Proctor & Gamble. It is the 3-7 seconds after a shopper first encounters a product on a store shelf. It is in these precious few seconds, P&G contends, that marketers have the best chance of converting a browser into a buyer.

So, what is the First Moment of Truth for a writer who is marketing their book? Undoubtedly it happens when a potential reader looks at the book cover. It is at this point that the individual makes an emotional, gut-level decision about the work — to find out more about it, or to move on. Usability guru Donald Norman refers to this as the visceral level of experience. At the visceral level, writes Norman, “people will be strongly biased toward appearance.” 

There have been numerous posts (and studies) on the importance of having a good book cover. This is particularly the case with self-published writers. Darren Beyer’s post on this topic demonstrates ably that a book is, indeed, judged by its cover. And this is why many book covers look similar (I know of four that look almost exactly like Anthony Doerr’s All the Light We Cannot See).

There are two takeaways for the book marketer:

  • First, it’s important to think of your customer as taking a journey to your book. Mapping that journey and identifying the micro moments within it will help you understand the content you will need to generate.
  • Second, we cannot overemphasize the importance of making an emotional connection with a reader through a well-designed cover. As Maya Angelou said, “People will forget what you said, people will forget what you did, but people will never forget how you made them feel.”

— Mark Schroeder

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What is Micro-Marketing and How Will it Work for Authors?

Here at Find My Audience, we spent most of 2015 developing a full-featured Audience Relationship Management platform for writers. We let authors define their books, then we found potential readers across social channels. Writers could promote leads, create different profiles for their work (to establish segmented audiences), and even engage via their social media accounts.

Our beta users loved the promise of the platform. These included Big and small Publishers, as well as traditionally and self-published authors.

But while we were riding a wave of positive feedback, we felt that we needed to simplify the platform and make it easier to use. Our power users were creating multiple profiles, saving leads, engaging with and growing their audiences. But the average user was finding it hard to manage all the features we provided.

We realized that the problem was endemic to the challenge we had set for ourselves. Book Marketing has always been at least as much art as science, and now in the rapidly-evolving world of digital/social media, what works and what doesn’t has become even more mysterious.

Lessons have been learned and best practices are being developed. Facebook works for some things, but not for others. The same goes for Twitter, Pinterest, and the Blogosphere.

There are many success stories. Peter McCarthy, who has inspired us in the design of our system, is perhaps the smartest person in the industry at digital marketing, and he has brilliant case studies. But the successes are always hard won. The challenge — growing an audience of potential readers who can be addressed when they are ready to buy — does not lend itself to an easy technological solution.

In March of this year, we decided to simplify: to make our system much easier to use, and support our authors in playing small ball to build an audience. With one e-mail a day (or week), we’ll give authors the most highly qualified people, sites and messages they should pay attention to right now. With 10-15 minutes of attention each day, they can incrementally build their audience, as well as their awareness of different sites, channels and events that will most fruitfully increase their exposure to readers.

That’s what we mean by micro-marketing. We hope every author will give us a spin for a while, and let us know if the system provides value.

As much as we all want the “silver bullet” marketing approach that will work every time, with little cost or effort, no such thing exists for most commodities, even less so for a book, where subjective appeal is paramount.

With a micro-marketing approach, we hope to make audience-building easy, rewarding and, dare I say it, fun.

— Paul Agostinelli

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Writers & The Zero Moment Of Truth


In our last post we discussed the importance of Micro Moments for writers. Micro moments present opportunities for writers to build their communities and/or market their books, assuming the timing is right. Micro moments comprise the first step in what we are calling the Audience Location Journey.

Here’s an example: assume that you have written a phenomenal work about a woman who is stranded on a distant planet without food or water. She will need to use all the ingenuity she possesses to survive until her crew can make it back to rescue her. Sound familiar? Of course it does. Your book could be the kissing cousin of the best-selling The Martian. And that’s not a bad thing, for if you can identify positive tweets and posts about The Martian, and connect with the authors of those sentiments, you may also find your own audience. Marketing experts call this an “affinity audience.”

Let’s further assume that your affinity audience has finished The Martian and is looking for a similar book to read. They are full of “intent to buy” but aren’t sure which book they will be buying. So they whip out the phone, pad, or computer and start researching. Google calls this The Zero Moment of Truth, which is “the precise moment when they [your potential readers] have a need, intent or question they want answered online.” This is the second step of the Audience Location Journey.

And journey it is, for in this phase your potential reader moves back and forth between devices (phone to computer and back again) and channels (Twitter, Facebook, et. al), checking prices, reviews, and in the case of books, asking for recommendations or simply taking a look, for example, at friends’ Bookshelves on GoodReads.

The marketing task, then, is this: to “shape” your potential reader’s journey — and anticipate the questions s/he might ask along the way.

This requires that you understand your reader’s intent. Indeed, one of the truisms of marketing today is that intent and immediacy of messaging are more important, as Lisa Gevelber of Google notes, than “reach and frequency.”


So, where should you start? We suggest you first answer a number of questions, such as:

* What questions will the user want answered? And what are the answers?

* What kind of cover images or art will hook the user?

* What blurb works best to compel the reader to continue reading?

* Which books are similar to your book?

Keep in mind that your marketing efforts at this stage are not so much about “your” work but rather about addressing what your potential reader wants — what they feel comfortable with. To be sure, in the “morphology” of reader taste similarity takes pride of place. As a result, especially if you are a self-published author, you might want to engage in a species of resemblance marketing.

Another way of looking at this is that the answer to every potential reader question is this: “It’s like the book you just read (but with a slight twist).”

Let’s make this more concrete. Take a look at the following three book covers.

Notice the family resemblances? Now is not the time and place to talk in depth about our desire, or lack thereof, for originality in what we read (and see). Notwithstanding, it is important to take into account the degree to which the publishing industry shapes your readers’ tastes. Tim Parks in a recent NYRB article describes the situation as thus:

The difficulties of the writer who is not yet well established have been compounded in recent years by the decision on the part of most large publishers to allow their sales staff a say in which novels get published and which don’t. At a recent conference in Oxford–entitled Literary Activism–editor Philip Langeskov described how on hearing his pitch of a new novel, sales teams would invariably ask, “But what other book is it like?” Only when a novel could be presented as having a reassuring resemblance to something already commercially successful was it likely to overcome the sales staff veto. 

In closing, we should point out that your “public face” (cover art, web site, etc.) needs to be professional and enticing — in short, it needs to pass the “gut test.” If it does pass that test, and many don’t, then you have a chance to further influence the reader’s Zero Moment of Truth. In our next post, we will discuss the different ways you can do that.

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Pinterest for Authors

Every morning I spend a few hours collecting content to share on the Find My Audience social media platforms. I look for trends in the publishing industry and I pay special attention to the articles that describe how things are changing for writers (and readers, for that matter).

The publishing industry is always evolving and it adapts with the times—and fast! That said, in today’s age an author’s success is dependent on his or her ability to hit a moving target. Authors are left wondering, “What can I do to keep up?”

One thing the experts do agree on is the need for authors to focus on building a strong social media presence—right now. The social web is where things are happening for authors these days; and it makes sense, considering that’s where their readers spend their time.

One of the best social media platforms for reaching readers and sharing content on the web is Pinterest. You can use it as a tool to introduce yourself, engage with your audience, and drive traffic to your various websites.

What is Pinterest?
Jon Reed describes Pinterest as “a virtual corkboard – a place to pin your interests. You create and arrange boards on specific topics and pin images and other media such as video to them.” In essence, Pinterest is a referral engine that is filled with customer insight intelligence. Seth Fiegerman adds to the conversation in his article explaining why, “Pinterest Drives More Traffic to Publishers Than Twitter, LinkedIn, and Reddit Combined.” He says that, “When it comes to referral traffic from social networks, there’s Facebook and Pinterest—and then there’s everyone else.” Instead of having to ask people what they like, they tell you by pinning it.

Why is Pinterest a useful tool for authors?
It gives you the opportunity to share your content and your books with your current audience, as well as many potential prospects. As long as you have a visual representation of the work you have done – book covers, book trailers, illustrations from your novel, fan art, or even a headshot – you can pin links to your work, driving traffic to your website(s). Because referral marketing is so powerful in the publishing industry, it’s no wonder why successful authors are starting to use Pinterest. It screams book marketing!

Authors who are on Pinterest already?
Take a look at some of these Young Adults authors who already have accounts on Pinterest:

Lisa Shafer (Confessions of an Average Half-Vampire):
Laura Thomas (Tears To Dancing)
Todd R. Tystad (Blue Hill):
Sara Zarr (Story of a Girl, How to Save a Life, etc.):
Amie Kaufman (Wrecked):
Lynne Kelly (Chained):
Caitlin Kittredge (The Iron Codex series, etc):

So how do you get started?

  • Sign up. You have the option to log in using your email, Facebook or Twitter account. I recommend connecting with one of your existing social media accounts because it will be significantly easier for you to find your friends, family members, and favorite public figures or blogs to follow.
  • Create your profile. You get to choose a username for your account. Keep it consistent with your other social media usernames. That’ll make it easier for your fans and potential followers to find you.
  • Check your settings. Turn your email notifications on. You want to know who is pinning what, and overtime you’ll start to understand the “why” behind their behavior. Having access to the “whom”, “what”, and “why” is important.

How do you pin?

  • Install the Pin It Button. With the Pin It button on your browser, you can easily pin any of the content you have on your page.
  • Add a Pin. When you are browsing the web and you want to add a pin, you can click the Pin It button on your bookmark bar or on the website you are pinning from. Then, Pinterest will give you the option to select which board you’d like to pin it to.
  • Create a New Board. Everything you pin is added to a board you have created. You can do so by clicking the “Add +” button in the upper right-hand corner of your main Pinterest page. Select the option to Create a Board. You can name your boards anything you’d like–but try to be specific, so that when potential users search for pins or boards similar to your board, it will show up in their search results.
  • Repin from Your Feed. You are able to see what your followers are pinning as well. In order to repin their post, all you have to do is run your mouse over the pin and select the “Pin It” button. It’ll direct you to the board you’d like to pin it to.
  • Like and Comment. Engage with your Pinterest community! Like pins; comment on pins; get to know your followers and let them get to know you.

Sources used for the above information:

–Alexa Davis

At Find My Audience, we understand that not all authors are marketers. That being said, growing your social audience can expand your readership and book sales. You don’t have to be a book marketer to find new readers online. We are here to simplify this process for you. Sign up today and connect with potential readers across the globe.

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Readers Are Not Consumers!

Spring has finally come to the Front Range of Colorado, where we are enjoying the warm days (along with the occasional snow shower!)

Here in Boulder, we like to think of ourselves as positioned not just geographically, but also culturally, between the traditional publishing world of the East Coast and the tech world of the West Coast.

“Big Data” is not a dirty word for us, but it is not an end in itself. Quant culture can be put in the service of the Human Creative.

A few weeks ago, I talked about the first of two principles that drive our vision:

  • Audience Discovery is a critical complement to Content Discovery.

Today, I’d like to talk about the second principle (a family of principles!):

  • An Audience is a special kind of market, a reader is a special type of consumer, a writer is not a merchandiser, and writing is not a commodity (or mere “content”).

One of the fascinating dimensions of the conflict between Hachette and Amazon last year (a conflict that played out again with Harper-Collins last month) is the clash of two visions of the cultural economy. On one side stand the technocrats of Amazon, ruthlessly rationalizing supply chains and profit margins in order to increase shareholder value; on the other stand the old-school book publishers, bravely championing a commercial structure that adequately compensates the Curatorial/Editorial Guild for their essential value.

Of course, both positions were immediately deconstructed by pointed counterarguments: 1) Amazon has served a great many authors — self-published and traditionally published, e-books and print — with their ubiquitous commerce and distribution infrastructure; and 2) Hachette is owned by a multinational conglomerate as committed to the bottom line as anyone else, and is run accordingly.

Who’s in the right? Well, both and neither, of course. To the extent that both institutions serve readers and writers, they are good. To the extent they serve a corporate bottom line divorced from social value, they are off base. That’s our view, at least.

The internal dynamics of commodity capitalism tend to diminish the unquantifiable allure of a creative work. In his classic essay, “The Work of Art in the Age of Mechanical Reproduction,” the German cultural critic Walter Benjamin famously declared that mechanical reproduction destroys a work’s “aura.”

Indeed, the allure of aura is different from demand for a product.

Commodity capitalism does not know what to do with “aura.” What it does know is “branding” — a rich process of creative self-definition — and its moronic stepchildren: “hype” and “buzz.”

When we think of books as “commodities” and readers as “consumers,” we subject ourselves, indeed our entire society, to a world devoid of aura. If we follow the tried-and-true logics of consumer capitalism, where supply and demand, labor costs, profit margins, and supply chain dynamics are the governing parameters, we lose the very thing that makes literature and art valuable: the expression of an individual vision, voice, heart and mind as they percolate within a collective consciousness.

Authors are on board with this. They know aura. They are looking for readers, not “consumers.” They are looking for an Audience to engage with, not a “demographic” to sell merchandise to. Merchandise is entirely subject to the dynamics of supply chains and distribution channels. Creative works are not (ideally).

Cultural currency in an attention marketplace is not the same as dollars in the bazaar. 

Of course, all writers want lots of readers. But they don’t want to find them using the de-personalized techniques of modern commodity marketing, putting up billboards on the attention superhighways, or bullhorning slogans across the town square. They want to gain fans through engagement, listening, entertainment, and the sharing of interests and affinities.

Much of the advice being given to authors these days is spot-on. I’m thinking of Guy Kawasaki’s thoughts on Authorpreneurship, and everybody-and-their-sister’s advice on “building an Author Platform.” That’s what authors need to do nowadays, and that’s a good thing. It keeps writers engaged with their audience and with their own voice.

The missing piece to the empowerment of Authors is to put them directly in touch with their potential audience, and not trust to the “shelf space” dynamics of merchandisers (and search engines) to be “discovered.”

By now, if you are still reading, you may be wondering what I’ve been smoking (I do live in Colorado after all), or whether I am serious. Are these principles too out of touch with reality to apply to the daily lives and challenges of writers in America today?

I think not. Old structures are breaking down, and Creatives are taking it into their own hands to work out how to reach the most people who might have an affinity to their work. To a certain extent, audience-building is always, at least partially, a numbers game. And it always involves some level of inspired, efficient promotion. That’s where the Quant techniques can help. Any author who truly wants to appeal to a readership of any size, must put the numbers to work for them, and commit to reader engagement and promotion.

At Find My Audience, we want to help writers do just that.

–Paul Agostinelli

At Find My Audience, we understand that not all authors are marketers. That being said, growing your social audience can expand your readership and book sales. You don’t have to be a book marketer to find new readers online. We are here to simplify this process for you. Sign up today and connect with potential readers across the globe.

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A number of years ago I wrote The Book of Margery Kempe. I was inspired to write the novel by Edward Nolan, a professor of literature at the University of Colorado at Boulder. I was developing a CD-ROM on the history of the humanities and had hired Ed to write the section on the Middle Ages. One script, on the outspoken medieval pilgrim, Margery Kempe, fascinated me. Ed portrayed her as a character right out of Faulkner — except, of course, that she was English and lived in the fifteenth century. Regardless, I’m a big fan of strong women, and of pilgrimages, and for years Margery roiled about in my head until, finally, she walked out of it and onto the page. I hope I did her justice.

Like many of you, I self-published my novel. I couldn’t bear the thought of having to pitch a literary agent, assuming I even got one to respond to a query letter. I’m an entrepreneur and I’m used to asking people for money to build software but to have to do the “song and dance” for an agent didn’t sit well with me. The act of writing is such a personal process, such an act of self-discovery, that I didn’t want my hypothetical “market value” to determine my own self worth. Call me thin-skinned, but I decided to pass on that evaluation.


So I jumped into the self-marketing game — started a blog, then added Twitter and LinkedIn accounts. I figured Facebook and Pinterest would come down the road once I got my “author platform” humming. I started blogging away and following other writers. And I worked those channels hard but it quickly became apparent to me that there was a lot of “noise” out of there — and it was time-consuming work, to boot! When I did hawk my book, what Jane Freidman calls “bullhorning,” it was unclear to me who was seeing the message or if the message was working — there just didn’t seem to be a good way to find and quantify which folks would be more “predisposed” to like my book. From that experience was borne Find My Audience, which is dedicated to finding a writer’s audience on the social web. And doing it quickly, so writers can have more time for — writing!

More than a year later we are in the final stages of preparing the Find My Audience application for Beta, which we will deliver to the market in June. We are having our first users test the application now. They provide us with feedback, we incorporate their suggestions, and then we release another version of the application — and so on, until we feel the application is ready for prime time. We’d love to have you join in the process. Take a look at the brief video of what we are doing at www.findmyaudience. If you like what you see, sign up for it here. Thanks for your support!

- Mark Schroeder

At Find My Audience, we understand that not all authors are marketers. That being said, growing your social audience can expand your readership and book sales. You don’t have to be a book marketer to find new readers online. We are here to simplify this process for you. Sign up today and connect with potential readers across the globe.

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Metatagging, Genetic Analysis and Audience Discovery

In a recent blog post, Mike Shatzkin of the Logical Marketing Agency talks about the importance of understanding the potential audience for a book, as a crucial complement to metatagging (generating descriptive metadata that would allow a work to show up at appropriate places in search and recommendation engines.)

As the co-founder of a company called Find My Audience, I agree with Shatkin’s general point; indeed, I said something very similar in my blog post last week. But I disagree with several contentions that seem to inform his view.

The first thing I disagree with is his pooh-poohing of the type of structural, or genetic, deconstruction that companies like Trajectory are doing to help literary distributors or buyers find books they might like.

Towards the end of his post, he states bluntly: “If what you want is to make your book pop in the searches of likely readers … finding a book that is similar in writing style, pacing, and story construction really won’t help you at all.”

Really? It seems odd to me to dismiss the rather obvious notion that if I like one book, I might like a book that is similar to it in some way.

Sure, this can be done crudely … I happen to love Thomas Pynchon but have never taken a shine to the writing of Don Delillo, with whom he is often compared in theme, mood, voice and style.

But why shouldn’t we try to build and extend our understanding of how certain books work, and relate them to similar works, in the hopes that readers might find some guidance venturing into their next reading experience?

This work is still in its infancy, but where I see it going is that we will be able to describe writings in greater detail relative to the great literary critical frameworks of the last century:

  • Northrop Frye’s archetypal types and modes (tragedy, comedy, thematic; mythic, romantic, ironic).
  • Gerard Genette’s syntax of narratives (Order, Frequency, Duration, Voice and Mode)
  • E.M. Forster’s Aspects of the Novel (story, characters, plot, fantasy, prophecy, pattern, rhythm)
  • Wittgenstein’s theories of language games.

I think it will be amazing when we can go way beyond “keywording” to teasing out (with more or less help from humans) many of the generic, genetic and genealogical structures operating in a work and sending readers to interesting nearby lands. I believe the work Trajectory is doing (and Booklamp and Small Demons before them) is just the beginning.

The second place I disagree with Shatzkin is more a matter of emphasis. As I mentioned, I share his belief that audience research is a key component of book marketing. As he puts it, it is a “separate task that can take a couple of hours or more and requires a dedicated effort.”

But I believe he goes on to overstate what it takes to do this: “The research exercise we’re suggesting is a prerequisite doesn’t just take time: it takes knowledge and skill, as does applying what is learned to the copy. Even if the knowledge were there and distributed across all the people who write descriptive copy today — and there is no publisher on the planet in which it is — the time required for the research would tax the resources of any house.”

The proposition here is that understanding the audience for a work is the “core activity” for book marketing, that undue attention on genetic deconstruction is “distracting,” and that the core activity is best done by a professional digital marketer.

We say: not so fast. Digital platforms like Trajectory are getting better at understanding key effective structural elements of books, social listening platforms are already being used to understand sentiment and affinity trends, and platforms like Find My Audience are getting better at finding and understanding readers based on their expressed (and implied) interests and affinities.

There will undoubtedly be a role for professional book marketers for many years to come. We are in an age of constant evolution and disruption, and there will not be a monolithic platform for how books are marketed. Our interest is in developing tools that help writers first and foremost, as well as professional book marketers, agencies, and publisher-press marketing departments.

Algorithms and Big Social platforms that bake in smart and sensitive understanding of literary and semantic models will be a key part of the mix.

-Paul Agostinelli

At Find My Audience, we understand that not all authors are marketers. That being said, growing your social audience can expand your readership and book sales. You don’t have to be a book marketer to find new readers online. We are here to simplify this process for you. Sign up today and connect with potential readers across the globe.

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First Principles

From the first day at Find My Audience (FMA) — an Indian lunch amongst our four co-founders in downtown Boulder — our driving purpose has been to put data, technology and social networks to work helping writers find readers. Although we quickly saw the potential of an “audience search engine” for other Creatives, and even small businesses, our focus has remained on writers, because that is who we are, and what we love.

As I watch the rapid evolution of all aspects of the publishing and blogging worlds, two principles continue to drive our vision:

  • Audience Discovery is a critical complement to Content Discovery.
  • An Audience is not the same as a market, a reader is not the same as a consumer, a writer is not a merchandiser, and writing is not best treated as a commodity.

I’d like to say a little more about these principles, because they are not self-evident.

Audience Discovery is a Critical Complement to Content Discovery

Right now, most of the really smart thinking about digital marketing of writing is being applied to “content discovery.” That means creating a digital profile of your work (using metatags, etc.) that causes it to appear in search results, recommendation engines, relevant social conversations, and potentially paid advertising channels.

As I read various online conversations about book marketing, I see advice on enhancing discoverability crop up EVERY DAY. It appears in self-publishing discussion groups, publishing industry trade articles, and in the services of professional book marketers. (That last link goes to Peter McCarthy and Mike Shatzkin’s Logical Marketing Agency, which does much more than SEO optimization.)

As a writer, improving your content discoverability is essential. However, two things make it a less than ideal way for writers to find readers:

  1. It requires a writer to think like a search engine. When you are improving your discoverability, you are prettying yourself up for a machine.
  2. It is passive. Once you metatag your work, you sit back and hope readers find you via the aforementioned algorithm-driven systems.

Audience Discovery is a critical complement to Content Discoverability because it turns the tables on these two factors. With Find My Audience, writers talk about their work in terms of specific interests and similar works, that is, in terms of what a potential reader (not a search engine) is interested in. And when an Audience is returned, the author can reach out and engage directly with people, communities, groups and conversations, extending the voice they have created in their work.

Some may contend that writers are not marketers and don’t want to do “active promotion,” but I disagree. Not only is it the way of the world these days, but writers are temperamentally disposed to talk about their writing; it is their passion!

The problem is when marketing tools are too difficult to use or appear to create spam. A writer never wants to come across as a shrill self-promoter.

We feel we are building a platform that puts the power of active engagement into the hands of writers, and based on responses so far, many writers agree.

I’ll talk about our second principle in a future blog post. As I just mentioned, I do believe that writers are actually well-positioned to be self-marketers, when the tools and context of their outreach are consistent with the usual skills and attributes of a writer. I DON’T believe that writers are well-positioned to be merchandisers, who are typically focused on engineering various environments to maximize sales for a commodity product.

Sorry…a book (or blog, or magazine, or newspaper) is not JUST a commodity, and writers don’t ONLY want sales.

Of course, they are, and they do…just not exclusively.

All right, it’s back to getting our alpha ready…keep writing, and I’ll talk back at you soon!

–Paul Agostinelli

At Find My Audience, we understand that not all authors are marketers. That being said, growing your social audience can expand your readership and book sales. You don’t have to be a book marketer to find new readers online. We are here to simplify this process for you. Sign up today and connect with potential readers across the globe.

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The Do’s and Don’ts of Facebook for Writers

If you’re a writer who wants to build a thriving fan base around your latest book, facebook  is still one of the best places on the web to do so.

Your facebook presence could catapult you to the next stage in your career, opening up hundreds of shiny new opportunities for you and your book…but you have to do it right.

Here are a few do’s and don’t’s that will help you make it happen.

There’s worse no faux pas than writers who join facebook groups to try to sell their fiction books to other writers. It’s like real estate agents trying to sell houses to other real estate agents, or car salesmen trying to sell to other car salesmen.

Yes, writers are also people who read from time to time, but they don’t join groups called “New Top Authors” to look at what YOU wrote.

Join groups where you’ll find people who love the genre you write in. Find people who will look to their facebook groups when they want to buy new books. Create posts that will be relevant to them, and will get your name remembered.

Don’t sell to them, befriend them – so that when that day comes, they’ll look to you.

People typically don’t log on to facebook with the intention to buy books. They log in to be entertained, to discover fun and interesting things, and to stay up to date with the things they care about. Your job is to integrate yourself seamlessly into their objectives, not rush in and ruin their downtime with rude interruptions and unwanted marketing.

You want attentive, interested people who are dying to hear about your new work, right?

Well, your typical facebook users won’t be in that mindset until you give them a reason to be. Interest is something you have to cultivate, not force.

Find your perfect space (a facebook page or group) to draw people into your world. Think  about what it will take for people to know, like and trust you.

Engage with people through groups and other relevant pages. Ask your friends for introductions, like people’s stuff, and build relationships.

No one will feel threatened or offended if you’re adding value as opposed to self-promoting. Any self-promotion can come later, because once earned, you’ll be offered opportunities to do so with open arms.

We all know how we’re good at helping people, deep down. We know what people would appreciate from us most. A great sense of humour, for example – a caring ear, or fantastic advice. Even if it’s something you feel you could charge for – ESPECIALLY if it’s something you feel you could charge for – it is essential that you share it.

Sometimes your generosity will pay off right away, and sometimes not, but it’s the only way your marketing ever will.

About The Author
Stephanie Lennox is an award-winning author, keynote speaker, holistic writing coach and wellness advocate. She’s also the founder of “The Authorship Program®” – a book, blog and online course that helps writers write successful books and lead successful lives through spirituality and personal development. For free tips on feeling well and writing well, you can visit her at

At Find My Audience, we understand that not all authors are marketers. That being said, growing your social audience can expand your readership and book sales. You don’t have to be a book marketer to find new readers online. We are here to simplify this process for you. Sign up today and connect with potential readers across the globe.

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What 2015 Has In Store For Find My Audience

The new year has begun with a lot of excitement at Find My Audience. We are less than two months away from the beta launch of our audience discovery platform, and expectations are high!

Over the holidays I was reflecting on what a crazy time this is for writers. It has long been the case that writers have to promote themselves to find readers, but the signal-to-noise ratio of people talking about their work has reached epic proportions.

The traditional curatorial platforms of established booksellers and book reviewers are still relevant (and arguably even more important), but writers are no longer best served by fighting, cajoling or buying their way into those overloaded channels.

Likewise, the evolving discovery engines for books, while getting smarter, will always be a passive form of promotion for writers: we are being instructed how to metatag our works and our blogs, and how to talk in a way that search-recommendation engines will find us. These methods will become increasingly effective, but they are not satisfying ways to find readers.

We are excited to offer a new way…. social media can now give writers direct access to their audience. The combination of Social Networks and Big Data (what I call Big Social) is the new enabling technology for writers and other Creators to find people, places, communities and conversations who are likely to respond to their work.

At FMA, we are both Quants and Quals. We’ve been crunching data, writing code, and developing our algorithms for a year, building a platform that puts the power of Big Social into the hands of writers.

Social media concept in tag cloud

Writers’ gift to the world is their voice, and in a noisy world, we need to work with whatever diligence, grace and eloquence we can muster to put ourselves in a position to be heard. That’s always been our challenge.

What has changed is the transformation of the institutions and mechanisms by which art is created, distributed, promoted and sold. Desktop publishing, followed by WordPress, and now the self-publishing platforms, have revolutionized what we create when we write.

Digital publishing, ebook subscription services such as Oyster and Scribd, direct-to-consumer movements of traditional publishers, native commerce platforms like Gumroad, and of course the ubiquitous presence of Amazon, have opened up vibrant new channels for distributing and selling books.

Finally, the content marketing, social search and adtech sectors are rapidly changing the way marketing and “content” (in the form of writing, images, and sound) are intermingling and supporting each other.

At FMA we have always considered ourselves the advocate first and foremost of writers and readers. We don’t have a dog in the ongoing, and sometimes acrimonious, struggles between traditional publishers, indie publishers, emerging self-publishing platforms, online sales channels, and traditional indie and national retailers. They are all good … when they put authors and readers first, and when they are not driven by greed. (By the way we don’t feel that “giving consumers the lowest price” is the same as “giving readers a great service”.)

Writers want to find an audience and be paid fairly, readers want to find great work and pay affordable prices; and both want to do so WITHOUT being bombarded by the cacophonous online advertising bazaar.

The FMA Audience Discovery platform aims to make that possible. If you are a writer and would like to sign up for our Private Beta program (March 2015), check out our explainer video, and sign up.

In the meantime, we are furiously and happily getting the platform market-ready….. Jamie and Ray have been in the tech half of the garage, building out our system, while Mark is reaching out to colleagues in the writing and publishing communities to let them know what’s coming.

In their downtime, Ray’s finishing up his “Also Rans” manuscript and Mark is sherpherding his award-winning “Trainhoppers” telescript up the production ladder. These guys blow me away with their creativity. I love working next to them every day.

I hope you are all looking ahead to a great new year. Keep writing, check out our beta in March, and look for us at Book Expo America in May!

Paul Agostinelli
People & Numbers

At Find My Audience, we understand that not all authors are marketers. That being said, growing your social audience can expand your readership and book sales. You don’t have to be a book marketer to find new readers online. We are here to simplify this process for you. Sign up today and connect with potential readers across the globe.

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