Advice for a First-Time Indie Author

Curious George toy

The following is edited from PMs I’d exchanged with a first-time fiction writer. Much of this probably isn’t new for anyone regularly reading my blog, but it may provide others with some fresh insights.

Here’s the backstory: Earlier this week, I’d read a friend’s wife’s historical novel. She’d published it in Kindle herself. I was impressed by her writing skills.

As we swapped messages, she asked if I write outlines for my books.

I replied:

Yes, I do outline. I work with a few things, starting with a page of notes (on yellow, lined paper), then I use the “middle school” outline:

After that, I fill in Larry Brooks’ old tent-style story structure form, to figure the story beats: (Explained here: )

And then, I write my outline. If it’s a romance, I use Katherine King’s “Love Plot” but a lot of friends like Gwen Hayes’ “Romancing the Beat.” There are other options, as well.

Then, seeing her Amazon rank (and what it meant, in sales), I suggested a few marketing tips that might improve her visibility and sales.

Here’s what I recommended:

1. Use the Hemingway Editor on the first five or so pages, to make the “look inside” easier (meaning: simpler phrasing) to read.

After readers have read more of your book, and they’re used to your writing “voice,” readability and sentence lengths are less important.

However, for marketing, your text needs to be super-simple for readers to get into. Even on the Amazon sales page, you want readers to be caught up in the story from the very start.

I have the Hemingway Editor on my desktop, but you can use it, free, at the website. <— Just highlight their sample text, remove it, and paste in part of your opening. (The software was originally called the “Hemingway App,” and a lot of long-time writers — including me — still call it that.)

2. [She had published using her real name.] Add a co-author name — one you make up — that will be your future pen name, and republish your book.

So, at Amazon (etc.), the authors (two names on the cover) will be your real name, with a second, co-author name you choose, as well.

(I like to find interesting names in my family tree, from the era I’m writing in, and select one as my pen name. Sometimes, book sales will improve with a pen name that’s related to the genre or time period you’re writing about.)

That way, people who know you (in real life) can find this book, but your fans will start following your pen name… and you keep most of your privacy.

I cannot over-emphasize the importance of setting up boundaries, early, to protect your privacy and your family’s. Trust me on this. Please. Fans can be a little overzealous. Sometimes in scary ways.

3. Add a subtitle, saying what the book is about. Tell people the time period, and what the genre is. For example, I’m working on Regency romances right now, so my titles (with subtitles) will be something like “The Dangerous Duke – A Regency Romance.”

4. If you can, hire someone to design a professional-looking book cover. The right book cover will pay for itself, quickly.

I recommend going to and hiring vikncharlie. (That’s her username.)

You can hire her at the lowest price and get something pretty good, but I give her about $35 and she creates something amazing for me. In addition, I can use the cover on my Kindle (etc.) books, as well as my printed (CreateSpace) books.

And, any graphics she uses… you can be certain they’re legal to use. (I can’t say that about all Fiverr cover designers.)

Those are the basics, as far as I’m concerned. You can follow-up with more professional marketing, including help from Fiverr book marketer, bknights, and some well-targeted Facebook ads.

A good book deserves the best marketing you can give it. Of course, your marketing efforts shouldn’t compromise your time (or budget) for actually producing books.

Nevertheless, if you’re publishing books at all, they should be good books and have enough marketing to be discovered by hungry readers in your sub-genre.

photo courtesy and J Aaron Farr

Writing Plots with Movie Story Beats

Earlier this month, I talked about creating story beats and plot templates from movies. Several people wanted to know exactly how I do this, and then use those beats to craft plots.

If “story beats” aren’t familiar to you, a three-act version is at Live, Write, Breathe. Personally, I like Larry Brooks’ beats,  featured in one of Jami Gold’s spreadsheets. Or, you could just watch Dan Wells’ videos — at this website — and learn almost everything you need.

(Only for plotting geeks: Larry Brooks’ Beat Sheet Basics 101.)

What I Do

movie ticket
photo courtesy FreeImages and Kevin Abbott.

It’s especially easy to find story beats if you watch movies from the late 1990s through the present day.

These are the steps I use:

  1. I select a movie with a theme that appeals to me as a general plot premise.
  2. If I haven’t seen the movie before, or if I haven’t seen it in a long time, I’ll sit down and watch the movie from start to finish. Sometimes, I take notes about important moments in the plot, as they occur.
  3. After that, I figure the length of the movie, in minutes. (Usually, this includes the opening titles and closing credits, but your results may vary.)
  4. I divide that in half. That tells me — usually within two or three minutes on either side — where the story’s Midpoint is.
  5. I divide each of those sections into three exactly equal (in minutes) parts. The first “break” in the pre-Midpoint section is the First Plot Point, and it’s usually within three minutes of that break.
  6. At the second break, you’ll usually find the First Pinch Point. That’s the twist in the plot, and it’s followed by the Midpoint.
  7. After that, the breaks will be at the Second Pinch Point (another twist to increase story tension) and the Second Plot Point (a somewhat dramatic change)… and then you’re at the Resolution, followed by the closing credits.

In most modern, American-made films, you can practically set your watch by those points. I’m not kidding.

However, the big variable is whether you’re counting from when the movie starts to when the screen goes dark, OR if you’re counting from when the opening titles conclude, to when the closing credits start.

From what I’ve seen so far, at least 80% of the time, you can safely measure from the moment the film starts to when the closing credits conclude.

Example: While You Were Sleeping

The movie, While You Were Sleeping, is 1:42 long, which means 102 minutes.

I’ve seen it many times in the past, so I just skipped ahead to see the story beats.

First, I fast-forwarded to the halfway point, at 51 minutes. Bingo. It’s where Jack & Lucy slip on the ice and nearly kiss. That’s the Midpoint. No doubt about it.

Going back to find the First Plot Point, I can argue that the First Plot Point is at the 14-minutes point, where Elsie needs her nitroglycerin and Lucy finds out she “saved the whole family.” (No pressure, right…?)

However, the First Plot Point is probably right where it should be, around the 17-minutes mark, where Lucy can’t sleep and confesses everything to Peter (in a coma), and Saul overhears her. A lot of the remaining plot is based on Lucy’s assumption that Saul will tell the family the truth.

At the 34-minutes mark…? Joe Jr. tells Jack that he’s “dating” Lucy (with a rude gesture to make his point clear), and Jack really starts suspecting that Lucy is conning everyone.

After that, I already know the Midpoint is at the 51-minutes mark, so I keep fast-forwarding.

At the 68-minutes mark, Peter wakes up and doesn’t recognize Lucy. (Ouch!) That’s the Second Pinch Point.

And then, at the 86-minutes mark, Peter proposes to Lucy and she accepts. That’s the final big change (Second Plot Point) before the Resolution.

Except that the proposal is about a minute late (which I can forgive), this is a movie that fits the pattern, perfectly.

I haven’t built a generic plot from this, yet. Nevertheless, I used some of those beats in a recent story. They were heavily mixed with beats from another film, and from a TV series.

That’s because I rarely use a single generic plot (based on a recent movie) for my stories.

… And that leads us to the topic of originality.

Copyrights, Intellectual Property (IP), and Story Beats

First of all, the disclaimer: though my MIT years involved lots of legal work involving copyright and plagiarism, and weekly consultations with copyright lawyers (to be sure I was getting everything right), I’m an editor and writer, not an attorney.

So, the following is not legal advice; it’s just my understanding of it. Double-check everything, if you have any questions at all.

With that in mind, I think the most important point is: No one can copyright an idea. If someone’s general (not specific) idea seems like a great premise — a brilliant start to a story concept — you may be able to use it in your own, very different story context.


(Keep reading. I’ll explain.)

Copyright law falls within the larger topic of intellectual property.  However, when writers talk about “intellectual property” (aka, IP), we usually mean property (an actual thing, like a book or a movie or a game) that results from original creative thought.

As the University of Huddersfield (UK) explains, “The basic idea behind IP is… to ensure that a creation is not copied or used without permission and to protect the economic rewards of the creators.”

That part can be complex, and the issue has been debated for decades.

From Hammer Film Productions‘ remakes to less obvious uses of others’ IP, the practice of using others’ stories isn’t new. In some cases, lawsuits result. In others, they don’t.

(Tip: Don’t think about blatantly copying anything from Harry Potter books. However, you may find a different popular “world” you can safely write about, at Kindle Worlds.)

Of course, public domain movies and stories are fair game. Just be certain they’re actually in the public domain. (For example, some rights to Peter Pan are still protected in the United States and some other countries.)

From Disney’s Snow White and Cinderella, to TV series like Once Upon a Time to Grimm, old stories and tropes can be revised for success.  (Even Disney’s hit, Frozen, was based on one of The Snow Queen stories.)

And then there are mashups, like Abraham Lincoln, Vampire Hunter, and Pride and Prejudice and Zombies.

However, I don’t advocate closely copying any existing story or film plot. Not unless you want your readers to get to page three and say, “Wait. I already know how this will end. It’s the same as the [fill in the blank] story.”

Morphing Generic Story Beats

For fun (and possibly profit), I like to take story beats, like those in America’s Sweethearts, and distill them down to a series of plot points that are plain-vanilla and very generic. In many cases, those general plots could match any of a dozen films, and perhaps more.

Then, I make some changes… big changes. They could be shifting the time period. Or, I might switch genders, so the female role in the film is the male in my story, and vice versa.

Or, more often, I do a mashup of my generic story beats.

I’m not unique. For example, I can see a mix of The Ugly Duckling and (even more obvious) Cinderella in the film, The Devil Wears Prada. That’s the tip of the iceberg. There are even quizzes that mashup movie plots.

My point is: If you’re going to use this movie approach to plotting, it’s a good idea to start with the most generic story beats possible. Make sure you’re using conceptual points, not anything that points to one — and only one — movie. Then mix two or three sets of them.

Use the general premise from one, the First Plot Point from another, and a twist (Second Pinch Point) from a third.

(If you’re writing genre romance, the Midpoint is often the kiss or near-kiss, so you don’t need to “borrow” that from anything. It’s a classic romance trope.)

This can save a lot of time, and result in a great, timeless plot that you can use over and over again, in several different novels.

I hope that’s helpful. And, if you don’t want to sit through a bunch of movies with a calculator, pen, and pad of paper, remember that you can get story beats — as “beat sheets” — from Blake Snyder’s site.

If you have any questions, let me know. I can’t give legal advice, but I’m happy to explain how I work with story beats in my own books.

Movies as Story Beats / Plot Templates

heart of heartsI’m working with a premise that’s very loosely based on the 2001 movie, “America’s Sweethearts.” To simplify the plotting, I created a quick story beats summary, I took the key transitional moments (as I saw them) in the movie… and then I made them generic.

I’m sure I’ll use this as a template for several books.

Please don’t share these links. (And, I may delete this article in a few days.) I’d rather not see a bazillion books that are more-or-less the same story, over & over again.

(Yes, many successful genre fiction stories are the same few stories, told different ways. I just don’t want this particular story/theme to show up in a dozen-or-so books in the same sub-genre I’m writing in, all at the same time.)

The following PDFs show how I’m working with this concept. And: full credit goes to Geoff Shaw’s “Reverse Engineering” method taught in his superb Udemy course.

Also, if you haven’t seen the movie (which I recommend to romance writers), my PDFs contain spoilers. The film is on Netflix right now, so you may want to watch it, first. It’s a romantic comedy with some suggestive jokes, but no nudity.

P.S. Some of these plot points are similar to story elements in Jane Austen’s “Mansfield Park.” Mary Crawford is a lot like “Mary” in my 2nd PDF. I didn’t realize that until I re-read the PDF.

And now… back to writing!

Product Reviews for Authors – July 2016

hand_writingIt’s been awhile since I posted my product recommendations. Here are some recent writing-related products that have stood out, as great, pretty good, … or not worth the money.

*Britt Malka’s course, Socrates Plotting, is a winner. You’ll start with an idea. Not a full premise, just a line or character or idea that you like, but don’t know how to develop into a scene, much less a plot.

Using Britt’s “Socrates” method, I came up with four great plots in under an hour. (And that was at the end of a long day, when I was almost too tired to think.)

So, I recommend her report.

Speaking of plotting, since I’m working on some romance novellas, I’ve been scrambling to find good plot templates to work with. For full-length romance stories (40k words or longer), I recommend The Love Plot, by Katherine King.

Romancing the beatAt the moment, I’m trying to merge her advice with tips & templates from Quickies: Writing Short Fiction for the Romance Market, and Romancing the Beat.

I laughed my way through Romancing the Beat, and Gwen Hayes has a great (free) Scrivener template you can use, too. It’s designed for full-length romances, but it can work for shorter books, as well.

If you’re writing romance of any kind (or word count), I think her Romancing the Beat book is a must-read.

Quickies Short Fiction Romance MarketBy contrast, Quickies… is specifically for those of us writing shorter romances, and I like the simplicity of her concepts. However, some are a little too simple for my taste. Also, the book has some obvious typos and regrettable editing, but I could overlook them.

I strongly recommend Quickies… if you’re trying to plot a compelling romance for a book that will be 15k words or less. She offers some really useful tips to get the most emotional impact into shorter-length works.

Also, for all kinds of books (not just romance), I’m a major fan of K. M. Weiland’s advice, so I love her article, How to Write the Perfect Plot (in 2 Easy Steps).

And, if you’d like to see a template I’m developing, specifically for Regency Romance novellas, see my article, A Typical Regency Romance Template? (Don’t expect much. It’s still a work in progress.)

Also, since I first recommended it, the out-of-print book, How to Write and Market the Regency Romance, has become very expensive. (It’s $47 or more, as I’m writing this.)

I bought my copy when the price was under $20.

It’s a little dated, but it’s still one of the very best books you’ll find about writing Regency Romance books that will please readers and continue to sell for years to come. So, I think it’s worth owning, even at a high price… but only if you’re serious about writing Regencies.

RomanceNovelsForDummiesIn addition, I like Writing a Romance Novel, for Dummies. It’s by one of Harlequin Books’ most respected editors, and she definitely knows romance. At the moment, you can snag a used copy for around $1.50 plus shipping. I recommend it.

Getting back to course reviews: if you’re tempted to take the Udemy course, “Short Story Outlines – Romance Book 1,” don’t bother. The instructor probably had some good ideas to start with. However, the content was so strange, disconnected, and confusing, it’s the only Udemy course that’s been so awful, I asked for a refund. (The money was back in my PayPal account within minutes.)

If you like Udemy — and I’ll admit I’m not thrilled with their new interface — I enthusiastically recommend any course by Geoff Shaw. I think I’ve taken every Udemy course he offers, and love every one of them. I’ve gone through his Short Reads course at least three times, and keep learning more from it.

His Reverse Engineering for plots course was also excellent, but some people won’t get what he’s talking about. If you’re the kind of person who sees patterns in things (and can apply those patterns to slightly dissimilar things) I think you’ll like this.  Otherwise, the value of that one course might elude you.

Everything else Geoff has at Udemy… it earns my unqualified praise.

And now, a few products I’ve seen in the past week:

*Britt’s Female Character Sketches are reports based on genre fiction archetypes. They’re also part of the easiest and best mix-and-match system I’ve seen for creating female characters with depth.

I saw her product before she released it, and I’m not sure it’s available yet. But, if/when you see it, if you’d like a sweet, simple shortcut to creating female characters… snag Britt’s system.

I strongly recommend it.

On the other hand, I didn’t like the course called Book-A-Day Kindle Short Reads. I think the guy’s basic ideas may have been good, but the product was a huge disappointment. It’s not well-organized, and many of his suggestions were copied directly from articles easily found, online.

Worse, there’s no refund if you don’t like the Book-A-Day course. (I’m usually wary of any product that doesn’t come with a guarantee.)

If you’d like to write short books, fast, here’s where you can find very similar advice, free:

Michael Moorcock’s 3-Day Book Plan:

Lester Dent’s pulp formula: (This is almost identical to the “Book-A-Day…” advice, which the product author admits.)

2k to 10k words a day delivers some of the best advice if you’d like to write more, faster:

And, if you’d like to try the Pomodoro Technique, you don’t need to spend a cent for that, either:

Shifting gears a little, let’s talk about book marketing resources.

If you’ve published books and you’d like to promote them, I’ve joined some expensive ($$$) groups that have been… well, only okay.

I like Bill Platt’s course about writing book descriptions, particularly for nonfiction. I think I’ve mentioned it before.

(For fiction, especially romance, I’m seeing studies that say a 150- to 250-word book description is ideal. You may or may not need a course in book descriptions for such a short blurb.)

However, the very best all-around book marketing course I’ve seen is Geoff Shaw and David Lee Martin’s *Author Email Recipe Book. I also like the “recipe cards” they offer as an add-on. (These “recipes” are step-by-step guides to marketing your books directly to readers, especially through mailing lists… the non-spammy kind.)

Yes, you do need a mailing list to keep in touch with your readers and fans. Otherwise, you’re relying on Amazon (etc.) to tell your fans when you’ve published something new. (And, if Amazon close your account for any reason…? You could be out of luck. Do not take that chance!)

Had I bought David’s course before the pricier ones I’ve signed up for… well, I could have saved myself over $500. Really. David’s “Author Email Recipe Book” includes better information, more clearly explained.

And, since I know at least one of David’s pen names (and can check his book sales with KD Spy), I can personally confirm that his advice works.

So, when you’re ready to market your books, David’s is the course to get. (Just don’t think it’s about cookbooks. It’s not. His course is about promoting all kinds of books, both fiction and nonfiction.)

And finally, before I close this: K-lytics remains a great resource for finding out which Amazon book niches and genres will produce the best income with the least competition. I’ve just provided them with a testimonial, because — for the price — their individual reports deliver some amazing insights. I’ve bought several, and refer to them over & over again.

So, that brings you up to date on what I’ve liked (and haven’t), very recently. I hope it’s helpful!

This is a free clipart divider.

*Products with an asterisk are those I received as review copies. That never influences my reviews.

Also, the only affiliate links I ever use are to Amazon products. I’m uncomfortable recommending products — especially expensive ones — if I’d earn money from the sale. When I write reviews, I like to avoid any conflicts of interests.

Coloring Books – My Experiences

crayons - artistIn 2015, I hopped on the coloring book bandwagon.

It was a logical match for my skills, since I’m — first and foremost — an artist and illustrator. I can draw my own coloring pages. (In fact, I do. They’re what I doodle as I’m unwinding with the latest episodes of my favorite TV shows.)

How I Started

First, I took two courses.

One had some good information, but most of it was so preposterous… well, to this day, I’m not sure if the instructor deliberately recommended bad (and convoluted) graphics techniques so he’d have less competition in the field. It wasn’t a very good course, but it helped me realize that I could do this. So, I don’t regret taking it.

The other course I took was Coloring Book Profits, originally by Alessandro Zamboni, and then — due to vicious (and very public) pettiness by a competing instructor — Bill Platt got involved, so Alessandro wasn’t the steady target of unfair criticism, legal threats, and other childishness.

If coloring books intrigue you, I recommend Alessandro’s & Bill’s course. It’s brief, but it provides the basics you’d need to get involved in this field. (You may need more or less info, depending on your art/graphics background. You’ll find plenty of free, more specific instruction at YouTube.)

What I Did

Over the next few months, I focused on coloring books, almost to the exclusion of all other projects. I knew I had the skills; I needed to see if coloring books held my interest and were profitable.

Since then, I’ve produced over 50 coloring books under three pen names.

Pen name 1 was a name I’ve been using online since 1995, and it’s an “oldie but goodie” in the mixed media arts community. More than half of my coloring books are written in that name. They provide the vast majority of my coloring book income.

Pen name 2 was a throwaway name, testing some techniques based on advice in the first coloring book course I took.  I published several books following that instructor’s general advice. Only one of those books has done well. The others sell one or two copies per month.

Pen name 3 was created for a sub-niche outside the general coloring book category. I’ve produced just a few books in that sub-niche.

Note:  If you haven’t read my articles about pen names, do. I use pen names to protect my privacy and my family’s.

In some coloring book forums, self-appointed “experts” insist that everyone should publish using their real names. They talk in lofty terms about being “authentic” and “not hiding behind a pen name.”

I don’t know if they’re naive, inexperienced, or deliberately misleading people.

Never publish under your real name. Not if you can avoid it. (Also, while you might think it’s cute to put your child or grandchild’s photo on your book cover… don’t do that, either.)

My Results

So far, my top three coloring books earn a comfortable three figures each, per month. Some months are better than others, but the income is fairly reliable.

Nevertheless, with over 50 coloring books selling at Amazon, I average $20 per month in royalties, per book title.

Books under pen name 1 — over 40 books — are varied. Most appeal to two different, specific coloring book sub-niches. Royalties average $20 per book, per month.

Books under pen name 2 — about 10 books — appeal to one narrowly targeted audience. It’s very different from those under pen name 1. Royalties average $20 per book, per month.

Books under pen name 3 — four books — are in a quirky self-help niche. They’re not bought as “coloring books,” per se. Each book sells equally well… and royalties average $20 per book, per month.

I have no idea if that $20/book figure is something cosmic or what. As far as I’m concerned, it’s very, very weird. I’ve never seen a pattern like this in any other book category.

But, since I’d draw these designs anyway, that reliable income is pretty good.

Note: The coloring book trend won’t last forever. Whether the field reaches a saturation point or enthusiasm wanes, I’m not convinced my current coloring book income will continue, indefinitely.

For now, it’s pretty good.

And, before leaping into the coloring book field, carefully consider these other points:

  1. I didn’t see much per-book income until I’d published more than 10 coloring books. I saw a second income leap at about 30 coloring books.
  2. My best-selling books are unique. Most of them are entirely hand-drawn by me, with pen & paper, and tweaked in Photoshop or Illustrator (or both) to improve the final illustrations.  (I have 20+ years experience with Adobe software. I will not claim “anyone can do this.” Not the kinds of books I create, anyway.)
  3. My worst-selling books are based on graphics you can find, create, or buy online… the kinds of coloring books recommended in the first course I took. (I’m talking about public domain images, purchased graphics that aren’t significantly altered before use, and software that turns out ho-hum illustrations.)

Your results may differ. However, I’m not sure I can recommend this field to anyone completely new to art or illustration.

On the flip side, keep in mind that — so far — I’ve done almost no marketing at all. No ads. Just a couple of blog mentions via Fiverr. That’s it. Everything else has been word-of-mouth.

Tools and Tricks

I draw my original illustrations on the same paper I use in my printer. Generally, that’s the huge package of HP Everyday Copy & Print paper sold at Target. (There, it’s about $7 – $8 for a 500-sheet package.)

Most of the time, I use LePen drawing pens. My usual pen size is 0.8, but I’ve worked with 0.3 and 0.5. (That link takes you to Amazon, so you can see the pen I use. However, it’s smarter to buy those pens in bulk if you can afford it, or shop at Jo-Ann Fabric, if one is nearby.)

I also work with a Pigma pen, size Graphic 1.

My earliest books were created with a Zig Writer pen (double-tipped); the ink doesn’t last as long as I’d like, but it offers a nice, fine line as well as a broader one. I think I buy those at Michaels Arts & Crafts shops.

(All of my pens come from Amazon, Jo-Ann, or Michaels.)

The Process

I create templates — basic design ideas, sizes, and shapes — with the thick Zig Writer pen. Usually, I place one of my templates on a clipboard, underneath the plain sheet of paper I’ll draw on.

My main template is a rectangle in the size of the finished coloring page. That allows for a one-inch margin at the center of the book, and about a 3/4″ margin on the other three sides.

My second favorite template divides a similar rectangle into “slices of the pie.” I put a dot in the center of the rectangle, and draw lines out from it — in an asterisk-type (or star) shape — to the edges of the rectangle. That template is for symmetrical designs.

After I’ve drawn 5 – 10 coloring pages, usually with my LePen pen, I scan them with my DoxieGo scanner. It saves me so much time (compared with scanning with my all-in-one printer/scanner), I’d have to say it’s the #1 reason I can turn out so many quality coloring books, quickly.

Looking back, if I had to choose between buying software to produce coloring books, and my DoxieGo scanner, I’d make the scanner the top priority.  No contest.

I’ve also used that scanner to scan thousands of family photos and papers, while sitting in front of the TV.  It’s really easy to use, and — for me — it’s peace of mind knowing that, if anything happened to the original photos and papers, it wouldn’t be such a tragedy. Everything is backed up on my hard drive and in the cloud, as well.

I create mandalas with Kaleidoscope Kreator, but you can find similar software — with fewer options — online. (Search for “free mandala software.” You’d find things like and

However, I’m not convinced the mandala market will remain strong in coloring books. In fact, some Christian audiences specifically avoid mandalas, and that may be a sub-niche to consider.

I fine-tune my drawings and designs in Photoshop. Sometimes, I use Illustrator for vector work, and I’ve also used Vector Magic.

Lately, I’ve used the latest version (free) of Irfanview to tweak my line drawings, per the instructions at this article about enlarging images. (I tried the other software recommended in that article. Not impressed.) For me, Irfanview’s results have been superior to Vector Magic, at least for line drawings.

Steps to Publishing

I always publish my books with images on just one side of the page. I publish via I’ve been publishing with them since around 2009 and strongly recommend them to all indie authors and publishers.

I don’t buy ISBNs. I use the free ones offered by CreateSpace; then, my books can sell to schools and public libraries.

I create the final version of my coloring pages in Photoshop and save them as PDFs. Others like to create their pages in Word, OpenOffice, or LibreOffice, and save them as PDFs.

Then, I assemble them with Adobe Acrobat Pro. (You can find free tools to do the same things, and you can compile your book in something like OpenOffice, etc., as a single, multi-page PDF.)

Most of my books have 35 to 50 individual coloring pages.

Initially, I created my books in both right-handed and left-handed versions. (Add one single-sided blank page near the front of the book. That shifts all the following pages to the left side.)

At first, the left-handed versions sold well, even better than the right-handed ones, but that interest fell off dramatically after about three months.

Now, I rarely bother with left-hand editions.

I do include a few sample pages (from my other coloring books) at the back of most books. I can’t claim it’s led to lots of extra book sales, but I think it has helped a little.

And, I’ve tested hand-colored cover illustrations and digitally-colored cover illustrations. It’s a little early to be sure, but — to my surprise — I haven’t seen a major leap in sales among my coloring books with the hand-colored covers.

Regarding pricing: I test my prices over several months. I also keep checking Amazon to see if they’re discounting my book prices.

Once I settle on a good price, I may revise my book cover with a printed price on the back. That increases the likelihood of a brick-and-mortar store stocking my books.

Other Sales Options

I never publish my coloring books in Kindle. Though (as of this writing) some people are doing well with that approach, I firmly believe it’s against Amazon’s policies to do so. I think Amazon will (eventually) shut down everyone offering coloring books via KDP.

I don’t sell through Etsy or my own website, either, but that’s because I like everything as hands-off (passive) as possible. I know that some people are selling lots of coloring books and coloring pages at Etsy, and they say they’re doing well.

My Future Coloring Book Projects

Yes, I’m about to start marketing my coloring books via Facebook ads. That may change my coloring book income significantly.

But, as I said earlier, I think coloring books are a fad that will wane over the next few years. So, I’m looking at longer-lasting writing and publishing projects, for more reliable, long-term income.

Also, I’ve tried to create content that’s almost identical to my three, top-selling coloring books. So far, the clones haven’t achieved anything close to the income of the original three.

(For example, I tried five different variations — each a different book — duplicating different aspects of one of my best-sellers. So far, only one of those clones has done well… but the income from it is only about 25% of the book it mimics. So, I’m baffled and can’t say what makes one coloring book sell better than another.)

For me, coloring books are fun. They’re based on doodles and designs I’d draw, anyway.

However, if I look at the big picture and the $20/book per month (average) income… I wouldn’t continue to create coloring books if they were anything except fun.

If you enjoy drawing or digitally creating designs, you may want to test-drive this niche. You might stumble onto a coloring book concept that does really, really well.

Or, if you’re like me, you might think of this as a really cool way to share art you’d create anyway… and earn some income from it at the same time.

Novellas and Short Reads – Putting the Pieces Together

Recently, I posted a rave review for David Lee Martin’s “… Self-Publishing Trenches” reports. As of Monday, 25 April 2016, that’s no longer available, but for those who did buy it, here’s what I’m doing with his information.

This is important: You don’t need to buy anything else, to make good use of David’s advice. I’m simply telling you the array of ingredients I’m mixing in my writing, in case you already have any of these, or want to add them. They are not necessary.

puzzle pieces
photo courtesy Martin Boose and

First of all, I’m taking David’s advice seriously. He’s not the first person to recommend this kind of approach to publishing, but the way he put his information together… that impressed me. And, he included insights I hadn’t seen elsewhere.

As I said in my review, I’m choosing sub-genres based on Chris Fox’s advice in Write to Market. I’m also consulting the newest advice offered by K-Lytics’ reports.

I have “second opinions” from Neil Bakewell’s videos in the Modelizer course he put together with Ryan Leonard. (I’m pretty sure that’s no longer available, but it may return.)

I’m fairly certain Neil and David draw from some of the same resources, as a lot of their advice — but not all of it — is very similar.

I’ve added suggestions presented by Geoff Shaw (known for his “Kindling” training) in his Udemy course, (Look for coupons for discounted Udemy courses. At the time I wrote this article, you can use GOODRITER30 to get 30% off most Udemy courses.)

If plotting isn’t your strong suit, but you’re good at taking a story idea and seeing how it could have been written differently, I also recommend Geoff Shaw’s Reverse Engineer Riveting Fiction course.

And, while you’re there, be sure to get Geoff’s free Udemy course, Helping Writers to Write and Keep Writing.

If you struggle with plotting, and — despite Geoff’s great insights — you couldn’t turn Cinderella into anything like Ever After, even if your life depended on it, you may need other plotting tools. (Worst case, you can purchase pre-written plots or hire a freelancer to craft them for you.)

Or, you might be able to start with prompts at sites like Seventh Sanctum (click on “Generator” at the top of the page), Chaotic Shiny (scroll down the left column), and Plot Generator.

I also like RPG guides. You know, the ones with lots of plot options and you roll the dice to select one. I get mine from Drive-Thru RPG.

If you have plot ideas, but can’t seem to turn them into anything, I like Lynn Johnston‘s advice and courses (the most basic is From Idea to Premise), and her series course comes with some pretty great templates to get you through your book. (The videos for that course…? Take them slowly. They might make your brain explode.)

Or, if you have a bunch of great plans for a story, but have no idea how to put them together, I highly recommend Dan Wells’ class in story structure. (You can watch all of the videos, right here at my website, free.)

Why should you write a series? Well, in addition to what David suggests in his report, take a look at Genre Hobo’s 1/1/5 advice; that may be where many writers learned the basics of what works.

And, if you’re writing books as a career — not simply publishing to get yourself out of the cubicle job, or for other financial reasons — I strongly recommend getting Holly Lisle‘s How to Write A Series course… which, as I’m writing this, doesn’t seem to be available. (However, I suggest writing at least three books before committing to writing series for a living. So, you probably don’t need Holly’s info immediately.)

As I said at the beginning, David’s information is pretty much everything you need.

Also, from free resources, online, to books you can find in the “how to write stories and books” section of your public library, you don’t need to spend a cent if you need more insights about writing and publishing.

However, for those who wonder what I’m doing… well, now you know.

Story Grid: Review

Moving ahead with David Lee Martin’s brilliant “… Self-Publishing Trenches” advice, I’m ready to take another look at fiction archetypes & tropes.

If I’m going to follow David’s advice to the letter, I need to understand exactly what readers expect in my sub-genre.

The Story Grid, by CoyneThis wasn’t on David’s list of recommended reading, but — last night — I skimmed “The Story Grid” by Shawn Coyne. (Don’t even THINK about buying it in Kindle… this is a massive book you’ll need to read in print.)

While this book seems more geared to screenplays and literary fiction, I’m gleaning enough oh-my-goodness insights (for genre fiction) that it was well worth reading… and the fairly high price tag.

(Authors, if your public library has a copy, get it. Now.)

This huge book includes a lot of tropes you won’t find at and some of them are kind of important. (See for the tip of the iceberg, and a good preview of the book.)

But… that said, this IS a textbook. The writing style is good, but the information he’s throwing at you, in almost every sentence…? Kind of overwhelming.

So, I can’t recommend this book to new writers. (However, if you’ve written at least five works of fiction, I think it’s a worthwhile — and perhaps essential — read.)

Geeky writers — those of us who print out everything useful we find online, and highlight it — will love this book.

Authors with several books in print, but ho-hum sales or reviews, should probably read this. I promise, you’re likely to find at least one “ah-HA!” moment in The Story Grid.

Everyone else may use it for a doorstop, and wish they hadn’t spent the money.

I’m glad I bought it. It’s definitely helping me understand a second level of plotting that I didn’t really get.

If your fiction has been lacking something, but you’re not sure what, take a look at The Story Grid.

Here are the links:

A Solid, Basic Business Model

David Lee Martin - Lessons from the TrenchesIn the past, I’ve recommended David Lee Martin’s Scrivener course. It’s the one that finally helped, when I felt overwhelmed by Scrivener’s dizzying bells & whistles.

I’ve been using Scrivener ever since, and it was a game changer for me.

Now, David has done it again. He’s simplified the confusing maze of being a successful indie author. This time, it’s his honest and insightful report, Lessons from the Self-Publishing Trenches. It will not be available after 24 Apr 2016.

(Note: That’s not an affiliate link. I earn nothing for recommending this product. The only affiliate links I use, ever, are Amazon Affiliate links.)

Two things you need to know: First, this is a business model for a successful indie publishing business, and the focus is on fiction.

It’s not a guide to writing books. In fact, David hires ghostwriters to produce his fiction. Then he edits, rewrites, and improves the ghostwriters’ work, so it meets his quality standards.

So, his advice will work for people (like me) who write their own books, as well as those who prefer to use ghostwriters.

Also, the reason I can write such a full review is because David sent me a review copy of the main product — and the (very optional) resource report — before they were available to customers. That had no bearing on my review.

(Really, if you knew how many review copies I look at and say, “No, I can’t recommend this,” it might surprise you. I feel no obligation to say nice things about reports and courses given to me. My writing time is valuable, so I only tell you when I think a product is worthwhile.)

Now, to the review…

In this report, David has put together one of the most basic, honest, and complete business models I’ve seen, if you’re planning to be an indie author.

  • He talks about everything from selecting a genre (or sub-genre), to advertising your books.
  • He includes screenshots to support everything he says, making this process (and the reasons for it) crystal clear.
  • He explains what’s worked for him, and what hasn’t, to take him from $0 to over $60,000 in book income, in less than a year.
  • His plan will work today. It will work next year. It will probably work in five years, with minor tweaks. In other words: these aren’t sleazy “loophole” techniques or trends that come & go. It’s a sensible, reliable plan.

This report is 118 pages, so it’s not “lite.” (I’ve already printed and highlighted the first 46 pages, because he’s reminding me of things I’m not doing… but should.)

However, it’s not formulaic, either.

Here’s an example: David presents a good, general approach to selecting a fiction sub-genre where you can succeed. It’s all you really need to know.

By contrast, many publishing-related reports suggest a specific formula.

Some say you should look for Amazon categories where the Top 100 books have consistently great rankings at Amazon. For example, the first couple of books are ranked around #10,000, and the 100th best-selling book in that category is no worse than #80,000 or so. That’s a category where — with a good book — you can compete. And, if you break into the Top 100, you’re likely to sell at least 3 copies/day. (At $2 profit/book, that’s $60/month, not including “pages read” income from KU.)

Others say you should look for categories with indie books in most of the top five spots (of the Top 100 in that category), and at least one or two books that have been in print for more than three to six months. That shows the ability for indies to break into the category, and stay well-ranked.

But then, those same people (studying the top five) say that book sales should drop dramatically by the 50th best-selling book in that category, or at least the 100th. They recommend a ranking (for the 100th book) of at least #500,000 or an even worse rank; that shows you can write almost anything, and still get your book into the Top 100. (Of course, ask yourself: would you be happy with a book in the Top 100 that sells only one or two copies per month…?)

David doesn’t go into that kind of detail. He keeps this simpler, lighter, and easier for you to follow.

And, you know what…? I’ve tried both of the above “formulas” for selecting a good sub-genre, and I can’t say that one performs vastly better than the other. I can argue in favor of either approach, and I’m not convinced you have to be that finicky.

In other words, David’s approach is all you really need.

If you want more details about anything he describes, he lists good resources throughout his report. Some are better than others, and — to be honest — I think you can glean plenty from freebies like Joanna Penn’s interviews.

But, for a deeper understanding of genre selection, I agree with David’s top two resource recommendations.

And, if you can afford it, go directly to K-Lytics. (Tip: If you buy one of their single-genre reports as a special offer — such as their romance genre report — you’ll then get a free basic, monthly membership. Just search at Google for K-Lytics “special offers” and you may see other useful reports. Or, spend a little more to get their latest reports in any main genre, and you’ll still receive the basic free membership.)

UPDATE 19 Apr 16: I’ve bought (and read) Write to Market by Chris Fox. It’s one of the resources David recommended. It includes another genre-selection formula — sort of — but it’s less structured and more intuitive than what I’ve seen in the past. I’m going to give it a try.

However, I don’t want you to think David’s report is all about genre selection.

Sure, that’s an important step, but I used it as an example of what David covers.

In fact, genre selection is explained (nicely, with screenshots) in just five of the 118 pages in this report. He even includes a sample email to use, to get your book into one of Amazon’s “hidden” categories… the sub-sub-sub categories you can’t sign up for when you publish your book.

He also explains the best ways to succeed with book titles, book covers (I picked up a great tip that had never crossed my mind), book descriptions, Facebook ads, other ads, mailing lists, writing a book series (and the best times to publish them), pre-orders (he spotted an issue that’s confused many authors), and a lot more.

I could go on & on about this report. It really is a breath of fresh air. And, David is one of the few publishing reports like this, with so much integrity, I have no hesitation recommending everything he does.

The report is $17, and I recommend it if you’re struggling to succeed with your fiction, and if you’ve been buying courses that were confusing, or otherwise let you down.

Yes, you may have seen some of David’s advice in other reports and courses.

The reason you’ll want to see it (maybe again) in David’s report is: Now you’ll know whether or not it actually works.

In fact, David’s information is a good way to get away from “shiny object syndrome.”  To succeed: do what he says, and nothing more (or less).

Here’s the link: Lessons from the Self-Publishing Trenches.

P.S. If you can add the (optional) resource report — with some unique and really useful tools — that’s another $39. I recommend it. However, his main report covers everything you really need to make his plan work.

ARCs, ‘Reviews-for-Free-Books’ Sites, and How to Find Them

girl reading an ARC
photo courtesy ryan day and

Would you like to offer ARCs (Advance Reader Copies, or Advance Review Copies) to people who will post honest book reviews at Amazon and other booksellers’ sites?

In this article, I’ll share my insights and top resources.

However, I apologize in advance. I’m writing this article, stream-of-consciousness style, because I’m radically revising my priorities and schedule… but I want you to have this information, quickly.  So, I may ramble and this may include typos.

Let’s start with Amazon itself.

Contact people who review at Amazon

Sure, everyone talks about searching Amazon for reviewers (in your category) who have contact info on their profiles.

The standard advice is to limit your search to reviewers ranked in the top 1000 (or so) reviewers, and send them a form letter offering a free digital copy of your book in return for an honest review.

As an Amazon reviewer often ranked closed to #1,000 at Amazon, I can tell you what happens:

  • I receive cookie-cutter form letters — usually with at least one typo — offering me a free book in return for an honest review.
  • In most cases, that author read just one of my reviews, and hasn’t a clue what the real scope of my interests is. (They also hint — heavily — that they’d like a five-star review or none at all. Clearly, they haven’t noticed that I usually post four-star reviews, unless a book or product is exceptionally good.)
  • And, in most cases, I delete that email. I accept less than 1% of the requests I receive.

Flip side of that coin: in a book marketing webinar I attended this week, Bryan Cohen suggested that, even with a well-written letter to prospective reviewers at Amazon, authors should expect about a 10% response. (If you want three reviews, send out 30 requests.)

So, the “contact Amazon reviewers” practice can work, but be sure you’re contacting the best possible reviewers for your books, and your emails are personal and compelling.

Alternate ways to find reviewers, at Amazon and elsewhere

Authors can use online resources — not at Amazon — to get books into the hands of Amazon reviewers.

A few people have been selling expensive reports that describe this tactic. Please don’t waste your money. You can find this information online, free.

The basic concept is:

  1. You give people free copies of your books.
  2. They talk about your book at their (popular) websites.
  3. Or they write a review (usually at
  4. Or both.

A good review at a website (blog) can be even more useful than an Amazon review.

Why give books to bloggers?

If a review website (blog) is especially popular, you can quote it in an “editorial reviews” blurb on your book sales page.

Here are some guidelines Amazon provides at Author Central, as of April 2016:

  • Reviews should consist of transcribed text from reputable sources. The name of the source should be credited after the quotation. For example, “A fantastic read.” –The New York Times
  • Quotes from outside reviews should follow “fair use” copyright guidelines and be limited to 1-2 sentences.
  • We recommend you limit your Reviews to 3000 characters. Customers may miss out critical information if your reviews are too long.

With permission from the reviewer, you can also use an excerpt of the review on your book cover.

This can be especially convincing as “social proof,” particularly if your printed books are sold through brick-and-mortar bookstores, or if you sell your books from a table or book in a store, at a conference, or even at a flea market.

Even if just to get more buzz, I think it’s a good idea to offer review copies to book bloggers, as well as authors in your field who’ll provide useful (but honest) cover blurbs.

Why give books for Amazon (etc.) book reviews?

Traditional publishers still send out free review copies, expecting reviews at Amazon (etc.), but they know how to do this.

Many indies have made career-damaging mistakes trying to achieve the same goal.

The problem: If you rush things, those great, honest reviews could backfire, badly. Amazon shoppers are becoming wary of reviews that could be shills.

For a glaring example of this in a non-book category, see

That product description has many spelling and punctuation errors, plus a nightmarish level of keyword stuffing.

(“Keyword stuffing” is finding any excuse to add myriad words & phrases that people might search for, at Amazon, hoping to land that product or book in the search results.)

Most reviews for that product are five-stars, from a time between late July and early September, and include a line about receiving a discounted or free product in exchange for the review.

Everything on that sales page looks so shady, I’d never buy the product.

My advice for beginners…? If you’re going to offer review copies to your fans, or through a service, keep the numbers low and try to space them over more than a few weeks. (It’s ideal to see them peppered throughout a larger collection of non-ARC reviews.)

Do I need to say this? Only honest, unpaid Amazon reviews

Read and closely watch Amazon’s Terms of Service, to understand the differences between a “paid review” and the very normal publishing tactic of sending out review copies (also called “ARCs“).

In 2015, Amazon brought a halt to any kind of payment (for reviews) when they said, “We don’t allow anyone to write customer reviews as a form of promotion and if we find evidence that a customer was paid for a review, we’ll remove it.” [Emphasis added.]

In addition, I’ve seen a few authors recommend “giveaways.” In those, the reviewer not only receives a free copy of the book, he or she is also entered in a drawing for a prize, if the person posts an honest review at Amazon.

The prizes may be cash, a Kindle reader, or something else of value.

I may be too cautious, but as I understand Amazon’s rules, offering anything of value — even an entry in a contest — is considered a “paid” review.

So, I wouldn’t do that.

Follow traditional models

Instead, follow the practice widely used by traditional publishers: Send out free, review copies to selected, eager readers — on a precise schedule — as well as to publications like your local newspaper, topic-related magazines (e.g., Romantic Times), and so on.

When you send review copies to magazines, particularly print magazines, it’s smart to send them all at once, as early as possible. Due to editorial & printing schedules, those reviews may appear over a period of months… but there’s nothing wrong with them all showing up at the same time. These kinds of reviews are considered “social proof.”

Where to start

As an indie author, you have several choices:

  • Build a “street team” to review your books, sometimes by giving each person a free copy of your latest book, even before it’s available to the public.
  • Find will-blog-for-books bloggers, on your own. (You can search at Google for them, post at forums they frequent, etc.)
  • Use a paid service to offer your books to their professional bloggers/reviewers. (The reviewers aren’t paid. They simple receive a free book with a request for an honest review.)

The best choice is to get your own readers to be part of your “street team” or “advanced readers team.”

You’ll give them free books to your fans while asking them for an honest review. (Your phrasing must be clear: The book is free. You’re not giving them the book with an expectation of a favorable review.)

However, if you don’t have a mailing list yet, or you’re uneasy asking your readers for reviews, you can find reviewers at free and commercial websites.

But first, that Amazon-ish warning, in more detail

In addition to avoiding anything that looks like payment for a review, remain current about the phrasing your readers (of free books) should use in their reviews. And then, be sure your reviewers know the exact phrases they must include.

Here’s one author’s experience from March 2014: but, just to make things confusing, here’s someone else’s post on this same topic (in March 2014), also quoting Amazon:

Not sure what’s okay and what could put your indie publishing business at risk? Call or email Amazon’s support team. Really. They’re very nice people and their information will be better and more current than anything I can tell you.

And — as always — check others’ reviews and insights about any service that charges a fee. I haven’t personally used any paid services to get reviews — aside from hiring a few bloggers (not Amazon reviewers) at Fiverr.

Tip: If you’re hiring a book blogger at Fiverr, be sure to tell them not to review your book at Amazon. Some of them — meaning well — add a “bonus” review at Amazon.

I always say, “Please do not review this book at Amazon, only at your blog.”

Professional resources for reviews

Interested in professionally-managed review resources?

Here are a few — info & distribution sites — to get you started: BookLook BloggersNetGalley  Both of those seem to be widely recommended.

I have less information about Online Book Club, which doesn’t look as polished. (If you’ve used them, successfully, be sure to let me know.)

This next site seems informal, but fairly straightforward about what they offer:

Here’s a list — written for people who want ARCs — that includes traditional publishers as well as resources used by indies:

Want to know what traditional publishers look for, when accepting people to their “street teams”? See this article:

In addition, you can search for sites that offer a variety of free & discounted products (not just books), in exchange for honest Amazon reviews. Here’s one list: (Verify each site’s practices and reputation, carefully, before participating.)

A few people have asked me about getting reviews through Amazon Vine. It isn’t quite as accessible for indies on a limited budget. Here’s one summary:

For more lists and information like this, use any search engine and start with sites that explain how to receive ARCs (as a reviewer). Generally, those articles list the largest numbers of resources.

Then, see what indies say — at their own sites and in forums — about those resources. And, of course, be sure those posts are current.

For Wildly Successful Marketing: Evoke Emotions

buy nowRecently, I’ve attended several webinars about book marketing. Most of them were snooze-worthy, repeating things I’d heard before.

I’m not always sure where this kind of information originates, but when I do know, I tell you about it.

Meanwhile, by the time it’s diluted four or five times — in the Internet Marketing version of “post office” — it’s lost a lot of its impact… as well as some key points for success.

For those with deep pockets, I know that Nick Stephenson’s book marketing training is superb.

Much of what I hear & see, online, is a watered-down version of what he recommends. And, sadly, those watered-down versions often omit key points Nick (and no one else) shared, but authors really need to know.

Don’t despair. If your favorite price tag says “free” on it, you’re in luck. Nick also provides free training, Your First 10k Readers. (I’ve raved about it, before, and still do.)

Follow his advice before investing in any “budget priced” book marketing courses. Nick’s course may be all you need to catapult your book sales into a far higher range.

One topic repeated in several webinars is the use of emotions — words and images — in book marketing.

Here are some of my notes.

Use power words in book descriptions, landing pages, etc.

For the best words to use, I’ve heard phrases like “emotionally charged” and “semantically charged” words.

The latter phrase tends to show up most often in NLP discussions. Here’s one: 

  • If you’re an absolute geek, you may appreciate details of the McKenna & Sharma study, but it’s not for most people. And it’s not about marketing, per se. )
  • Also, this isn’t the same thing as “selling the feeling.” From my viewpoint, that’s a very different kind of marketing, better suited to selling cars and other high-ticket items.

Indie authors may glean useful tips from articles like How to Evoke Emotions in Your Landing Pages (from Hubspot), and the original words list they mention, List of Feeling Words.

Using the latter list, plus a handy thesaurus (like, can bring extra impact to your book sales.

My thoughts…? If emotionally charged words are good enough for Jamie Oliver’s marketing, they’re good enough for me.

Make your book descriptions richer with words that match the tone of your book… amplified, slightly.

However, a too-gushy sales page will send readers running in the other direction.

My simplest advice: Add two or three obviously powerful words in your first sentence (or in the first 20-or-so words, if you’re not writing lengthy sentences). But that’s a generalization; your results may vary.

If you’re still blinking and wondering just how to use words like those — when, where, and how many — I recommend Bill Platt’s Hypnotic Book Descriptions.

In that report (selling for around $21, at the time I wrote this), Bill goes into excruciating detail about what works and why.

Much of his 51-page report is loaded (maybe overloaded) with the kinds of stories and phrases to use in your book descriptions, sales letters, and emails to readers.

And, he includes a 33-page bonus of already researched and categorized word lists related to specific emotions you might want to generate in your potential book buyer. For me, that was a real time-saver.

The main report…? I’m condensing his important points — and his (very useful) book description templates — to about two pages, to keep as a reference in my marketing notebook.

However, that’s my reaction. I’ve been involved in marketing since forever, so a lot of what Bill said wasn’t news for me. I just needed his report’s nudge to get me to use what I know. That nudge was worth the money.

At the moment, adding emotionally charged words to your marketing seems to be a very hot topic. The free resources I’ve linked to should get you started.

If you need more insights, Bill’s information is very good.

Other than that…? So far, after watching far too many book marketing webinars, I can’t recommend anything new in the $17 – $297 price range. (And, to me, it looks like a lot of people who used to sell $37 reports and courses have marked them — and new, similar training products — up to $197 and higher, without adding more value.)

Best freebies I’ve found, recently: Nick’s “First 10k Readers” training, and the articles at Dave Chesson’s Kindlepreneur site.

And now, I’m getting back to my books.

If you’ve found some good marketing freebies, or have insights about emotionally charged words, I hope you’ll share them in comments, below.