# Whoopee!  Iâ€™m â€œpublished.  Now what?



## NaClmine (May 9, 2010)

*Whoopee!  I’m “published.  Now what?*

Who are these people?

HAROLD BLOOM, ADAM KIRSCH, FRANCIS FUKUYAMA, FRANCINE PROSE, PAUL GREENBERG, FERNANDA EBERSTADT, DOROTHY GALLAGHER, PAUL LEVY, MALENA WATROUS, DOMINIQUE BROWNING, MICHAEL DOBBS, NIALL FERGUSON, JOANNA SMITH RAKOFF, DANIEL WALLACE, LAUREL THATCHER ULRICH

I’ll bet most of you have never heard of more than one or two of these names, if any. Ironically, these people could be the best friends for a writer, leading to vastly improved book sales. These names were just a few of the critics who wrote book reviews featured in the New York Times website in the Paperback Trade Fiction book review section, released just today. Readers pay attention to the opinions of their favorite critics and one good review can lead to a huge jump in sales, as fans of the critic trust the reviewers and buy books accordingly . . . which brings me to the point of this post.

New authors often labor under the mistaken notion that once they “get published” readers/buyers will flock to their genius and an ever-growing fan base will clamor for the sequel to “Terror on the Trampoline” or “Shameful Confessions of a Former Boy Scout Leader”. Wouldn’t it be wonderful if that usually happened? The ugly truth, one proved every day by hopeful publishing companies, is that the vast majority of books never make a profit. That’s not even including all the self-published, vanity-based books and e-books. We’re talking about books released by traditional publishers who paid an author’s advance, an agent’s commission, invested in copyediting, paid for cover art/layout, printed 5000 copies, issued impressive book release blurbs and arranged for a few well-paid critics to blow off sparkling endorsements of the next great American novel. All that . . . and SPLAT . . . the book falls flat on its face. It fails to earn enough to recover the author’s meager advance, much less the rest of the publishing cost. That’s okay, they know if they throw enough crap at the walls some of it will stick.

What does that have to do with you?

Pretty simple. Learning from other people’s mistakes can provide cheap and valuable lessons. What are traditional publishers doing right . . . and wrong? Big publishing companies rely mostly on physical book sales for profit. They resisted the new-technology possibilities such as internet-based promotion of inexpensive e-books, free chapters on promotional websites, back-story websites to build fan base, author blogs for marketing, POD production of physical books and fan-based reviews. They regret that now and are playing catch up, as best they can, while being hamstrung by old ways of viewing the publishing world. One of our members, lin, has done a great job of summarizing such new-technology opportunities, so I will limit the rest of this thread to discussing the other side of publishing . . . marketing.

With rare exceptions, books do NOT sell themselves. Mom and dad will always buy a couple copies of your POD book at outrageous prices per book and friends may pop the $4 for your e-book, but strangers will not buy your writing without a reason. What kind of reason? Selfish interest. They don’t give a crap about the 400 hours you put into crafting the perfect characters, or your innovative a plot that even God never imagined. Nope, they want someone they trust to tell them that your book will be make them happy . . . or sad . . . or horny . . . or whatever feeling they want out of a book. Where do they find such a trustworthy recommendation? Nope, not from you, the biased author. Same for mommy, daddy, wife or your favorite same-sex partner. They’re all untrustworthy. What about Amazon “reviews” by laymen? Yeah, right. Most of those posts reflect “friends of the author” or “haters”, but rarely provide professional discussion of character development, writing style or plot evolution. So, where can people turn for recommendations that will influence their buying decisions?

Remember, Tom Clancy’s _The Hunt for Red October_? I had never heard of it until my proctologist mentioned the story during one of those over-50 check ups. He raved about that submarine yarn from my rectum all the way to my ascending colon. I got a clean medical report and a detailed book review, neither of which influenced my life decisions. I still eat red meat and I did not buy Clancy’s book. Several days later, my accountant called me to her office to prepare for an IRS audit. You guessed it, between tax schedules and supporting documentation, she told me all about Clancy’s surprise bestseller. After writing a check to Uncle Sam, I felt too poor to buy the book, but I stopped at my auto mechanic’s to have my AC charged, it was 104 here in Sacramento. I’ll be damned if I didn’t hear another report about that “great” book, so I picked up the book that afternoon. It was a Friday, and by Sunday evening, I had finished the whole story, despite my dyslexia. Couldn’t put it down. I see dozens of people in my insurance business every week, and I found myself spreading the word about this exciting story. Now, that IS good marketing.

The number one way for a book to achieve good sales is word-of-mouth advertising by satisfied readers. Once market penetration reaches critical mass, sales become self-sustaining. How do you reach that point? Again, it comes back to trusting the recommendation. In the beginning, professional critics can be an enormous help because they all have their own fan-base who identify with their preferences and trust their advice. One good review can generate a thousand purchases. More importantly, a kind of self-fulfilling prophecy happens. When a critic gives a great review, fans are predisposed to “like” your book, hence the process of word-of-mouth sales gets a jump-start.

In my opinion, the two greatest advantages of traditional publishers are 1) their ability to obtain (pay for) great reviews by trusted critics with a fan base, and 2) their ability to make national initial distribution in bookstores with special placement inside the retail stores.

How does a self-published author compete? You borrow the successful strategies. Find critics who specialize in your genre and send them a free copy of your book. Some might demand a “review” fee, of course, that small fee usually guarantees a good review. (So much for objectivity) Then, link good reviews to your website promoting your book. You can also “borrow” third party influence in other ways. For example, talk show hosts are always looking for interesting guests. Authors give a free copy of their book to the host and agree to spend time on the show. In turn, the host feels an obligation to help promote the book during the show. Fans of that talk show host trust his or her opinion, and voila, you get more sales to people who are predisposed to like your story.

What about #2 above? How can you compete with the good placement big publishers get in bookstores? The answer is two parts. Guerilla marketing, and creative marketing.

I have a book in Barnes & Noble that got no special placement. My cover art just vanished into the “wallpaper” of the Sci-fi section. I went into all the local stores and acted like I was browsing. As I did, I moved my book onto the “New Releases” or “Best Seller” racks at the entrance to the Sci-fi section. In another G-marketing effort, I reverse-shoplifted my book into local bookstores that were not already carrying it. Left one or two copies copy in each store. When it sold, the book did not show up in their computer system, so some checkout clerk entered it manually by ISBN number, and bingo, my little “publishing company” suddenly got new orders to replace the book(s) that sold. The good news is that there are many guerilla marketing techniques for books on the internet. Do a search and put them to work.

I mentioned “creative” marketing. Big publishers suck at creative marketing. That leaves lots of untapped markets for the motivated, self-published author to tap. For example, while I was sitting in the waiting room at my local carwash, watching my truck inch through brushes and foam, I noticed a dozen bored people like me waiting patiently for our vehicles to finish. I realized that a new crop of bored folks passed through this waiting area every ten minutes, so I asked the facility owner if I could put a small bookstand in his waiting area, offering him the same 45% cut that Barnes & Noble gets. He was thrilled, but not a happy as I was when he called me a week later to have the rack refilled. In another creative deal, I got my book offered as a “premium” by a local fishing rod company . . . buy a rod and get a free book, signed by the author. Sold 22 copies in one night at a bass fishing club with that one. In another marketing move, I gave several copies to local university professors, friends of mine in the Physics Department. When I scheduled a book signing at the campus bookstore, I asked the professors to “drop by” and say hello. They showed up, students noticed and sales sky-rocketed after I mentioned that the professors had read my book. Might call that “borrowed” prestige.

In summary, self-publishing works best if the author understands that the act of publishing a book is not the same as the act of marketing a book. Borrowing prestige from critics, borrowing credibility from professors, offering books in places where bored people congregate, guerilla marketing . . . these are just a few the advantages a motivated, self-published author can exploit.

I welcome others to add their successful marketing strategies to this thread. I don't have much experience with online marketing, so I especially welcome ideas in that area.


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## Linton Robinson (May 9, 2010)

So, proctologists more effective than NYT reviewers?   Why doesn't that surprise me?


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## Wolfson (May 9, 2010)

I'll have to bear some of that in mind. I've got a slightly different problem in that what I'm writing appears in the databases of places like Barnes & Nobles - the trick is getting them to put them on the shelves in the first place. Based on conversations with variously placed people in various stores, it appears that they opperate on the pre-order principle unless they're looking at a 'big name' or some such.

And, wow... Someone else actually lives here in Sacramento? I'm not sure whether to be happy or feel bad for you.


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## Ilasir Maroa (May 9, 2010)

A lot of this stuff is very good advice. I think you've done a pretty good job of explaining some of the creative ways for self-pubbed authors to sell their books.

I would like to suggest the alternate viewpoint that "guerilla marketing" in bookstores is not necessarily a good way to go. NaClmine may have had some success with this. In my experience, most bookstores will remove your book from the shelf if they find it, or will be unable to sell your book should a customer bring it to the front of the store, because it is not listed in their stock database. Those sort of incidents can be a very good way to build bad sentiment with bookstores.  A note for those who still wish to try shady methods, NaCl may have indirectly mentioned that he puts out his books under a "publisher" which he runs.  If you do not have such a set-up, your chances of succes with these methods will drop to about zero, since the store would have no way to place more orders.

Moving books legitimately in the bookstore can also be a double-edged sword. It can make it hard for people to find your book, since the book catalog entry will no longer be accurate. It also means the staff will have to move your book back when they find it in the wrong spot. Store staff can be your friends, and it's not very nice to give them all that extra work to do.


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## NaClmine (May 10, 2010)

Ilasir Maroa said:


> . . . or will be unable to sell your book should a customer bring it to the front of the store, because it is not listed in their stock database. *The vast majority of bookstores operate off the ISBN number. When it does not show up in their system, clerks usually enter the ISBN number, sell the book at the listed price (which is right on the back with the ISBN number).* Those sort of incidents can be a very good way to build bad sentiment with bookstores. A note for those who still wish to try* shady methods*, NaCl may have indirectly mentioned that he puts out his books under a "publisher" which he runs. *First, there is nothing "shady" about moving a book from an inconspicuous position to a more prominent place within a bookstore. When the book sells, the bookstore gets every penny of its contractual agreement. Also, browsing customers move book all the time...its part of the business and the store has no idea who moved the book. Second, the publishing company, the bookstore and the author are all trying to sell books. Ultimately, they don't give a crap how you managed to sell your books as long as the sales happen. Timid authors are not rewarded.* If you do not have such a set-up, your chances of succes with these methods will drop to about zero, since the store would have no way to place more orders. *Absolutely incorrect. A quick check of the ISBN number for any book will provide all the information needed to re-order any book that is "selling" at a store. The publisher contact information is listed with RR Bowker under the ISBN. A good friend of mine recently had his book distributed through all the major book stores. I wanted to support him, but I also like to support a local used bookstore that has done a great job promoting my sci-fi book. I gave the bookstore the ISBN number and they ordered three copies for me, which were in my hands within a week. It's easy and commonly used.*
> 
> Moving books legitimately in the bookstore can also be a double-edged sword. It can make it hard for people to find your book, since the book catalog entry will no longer be accurate. *I agree. That's why I prefer reverse-shoplifting to get a book into preferred placement, rather than moving a lone copy (if the store is only stocking one book). *It also means the staff will have to move your book back when they find it in the wrong spot. Store staff can be your friends, and it's not very nice to give them all that extra work to do. *Store staff ARE my friends. They give me preferred space for book signings, talk up my book for a week before the signing, place colorful notices in the windows before the signing day and often invite family and friends to the event. In appreciation, I usually give them free signed copies and a nice poster of the cover art.*


 
Book marketing is, first and foremost, a business. Its objective is to make sales and profits for everybody in the distribution system. While I do not openly flaunt book stores by telling them I might be moving my book to better promotional advertising space, I am certain they appreciate the profits that give them job security. If you or anyone else thinks this is somehow unethical or "shady", then don't do it . . . and don't complain if your book goes out of print sooner than it should have.


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## Ilasir Maroa (May 10, 2010)

You can excuse your actions however you want.  But people I've spoken to who work in bookstores have talked about how obnoxious this sort of thing is.  Even for people who have a legitimate reason to move their books, such as POC writers dumped in the AA section or the NA section who would have better fit in fantasy or mystery, it's still annoying for employees and customers alike.

The suggestion that you doing this somehow promotes profits and job security for bookstores is a bit of an exaggeration.  You are not "in the distribution system" in the case of reverse shop-lifting, though you might be in terms of shifting sections for your books.  But any other book put in that section is as likely to be sold more, so it's not like moving the book helps the store.  It just helps you.  Which as far as legitimate stock goes is annoying but not a big deal.

To get to the point, I _do_ think it's unethical, but rather than slam you for doing it, I thought it would be better to make note of some of the reprecussions for authors engaged in this sort of thing, and also to point out that things like the orders you mentioned aren't going to happen for a lot of people.  Though sometimes they will.  If authors still want to do that sort of thing, it's their business.


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## Kat (May 10, 2010)

I haven't worked in a bookstore but I have worked in a department store. I would end up with two shopping carts full of stuff for other departments after closing- more during the holiday season. I would spend anywhere from 1-3 hours after the store closed cleaning up messes like that. So while I can see from the authors perspective that it does seem like a great idea. From the perspective of the person who has to put the books back it's a pain in the rear. If I noticed that it was happening consistently with one book, other than the bible because people think it's a joke to move that to fiction, then I would take note of it and that would effect my purchases in the future and doubtfully in a positive manner. 

I have no problems with reverse shop lifting.


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## Ilasir Maroa (May 10, 2010)

The problem with reverse shoplifting is that if they wanted your book in their store, they would have bought it.  Can you come up with any other type of store who you think would allow you to leave stuff there like that?  Would your local grocery chain let you leave stuff on their shelves?  No, of course not.  If they wanted your book, the would have ordered it themselves.  If they couldn't find it, then the proper course of action would be to talk to the store manager about stocking your book.  Putting it on the shelf like that is dishonest, and you're only doing it because you know you couldn't get in the store any other way.  Otherwise, what would be the point?


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## Kat (May 10, 2010)

When you leave stuff at Goodwill they will sell it. They are generating income on something that they didn't pay for. The profit is 100%. So unless the book is against the ethical or moral stance of the store, say a book on spells in a Christian bookstore I can't see the harm in that. 

Maybe I am not entirely understanding the process. If you own a store you purchase items at a discounted rate and sell them at an inflated rate in order to make a profit. If the item doesn't sell you will lose money. Do bookstores not operate that way? 

It could be they just didn't think that the book would have been profitable so didn't order it. If you didn't think it was going to sell then it would be stupid to stock it. But if you had a chance to get some free copies, you wouldn't take it? Now if they sell, great. If they don't you haven't lost anything beside a few inches of space.


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## Ilasir Maroa (May 10, 2010)

Well, there's limited space on the shelves, so when a book sits there without selling, the store can't move stock as fast, and that means less profits. Plenty of self-pubbed authors ask stores to stock their books for free, or on consignment, but they are usually turned down. If someone says "no", I don't think the proper response is to give 'em the finger and do something anyway.  The stores have their reasons, many of which are legitimate in general terms.  Every author thinks their book is the one that's special, though, so of course the stores reasons are relevant to _them._ *eyeroll*

And actually, stores don't sell books at an inflated rate. The publisher sets the cover price and gives the store a steep dicount to stock it, so the price you pay the store is still the cover price of the book.  Bookselling as a business has very low profit margins for everybody involved.


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## Wolfson (May 10, 2010)

Like many issues, there are many sides to this. I think what I was driving at with my original comment was that 'being in the system' as far as a book store's computer goes isn't necessarily going to drive up your book's sales. At least not enough to make a difference if you're _not_ self-publishing. I can't speak for self-publishing in this case.

What I _do_ know is that the world (especially the US) is full of people who made it to the top by being what most decent folk would consider 'unethical'. That, I think, becomes a matter of personal conscience. Personally... I probably wouldn't take my book in and set it on a shelf.

And the point Ilasir Maroa makes is very valid (and one that a lot of people don't realize): There's a lot of mark up between where the book starts and when it ends up on a book shelf in a store. I can't claim to be an expert on the numbers, but I have a vague idea.

The problem with 'being in the system' of a given book store is what I was originally driving at. My publisher is in the system. Things I've written or am writing are in the system. In theory, the _company_ will buy a certain number of books, which will go to a warehouse somewhere to be distributed to retail outlets that wish to have those books on their shelves. And that's where it gets dicey.

The trick is to be able to drum up some local interest at the very least. I haven't pushed very hard at the moment, because most of what I've written falls into the roleplaying category - not a big draw at the book store. But when my novel is (finally) given a release date, you can bet I will walk into every Borders and Barnes & Noble I can reasonably get to and offer to do a book signing. At the very least, I might be able to convince a couple of those places to put a few of my books on their shelves.

But I will also admit that I'm lucky in some regards... I _do_ have a publisher, and while it cuts into my net revenues, they take a percentage off the top, part of which goes into advertising. However, NaClmine's original point is exceptionally valid: If you can't get some 'word of mouth' generated, no one is going to know or care.

Hmmm... I just woke up and haven't had enough caffeine, so I think I'm just babbling.


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## Linton Robinson (May 10, 2010)

Exactly.   I have an ebook on the way about "self-publishing for profit" and it takes an entirely different tack from the standard flack we get exposed to:  seminar on how get 60.000 Twitter followers as a "platform",  how to drive your book to the top category on amazon, all the crap you see over an over.

There's a whole "internet wisdom"  concept that what a writer needs is to get on amazon, get on every social network alive for hours, get into chain bookstores, get on every amazon/onlinestore in the universe...and get rich.

It's bullshit.

What I talk about is basically marketing from the individual level.  Start with your own body and move outward in circles,  building your "brand" as an author and awareness of you and your book.

Stuff like:

--Carry your book with you at all times.  Cover exposed.  Have it on your table at lunch, coffee, poolside, etc.  On bus or train, have it open (you can have the "Flaming Nazi Bustiers" you're really reading tucked inside it.    People see it, people might ask about it.  People like knowing the author of a book and might buy it from you.

--Put a sign on your car.  Put a sign on your house or garage or yard.   If a plumber or notary does it, why shouldn't an author.  Let everybody who comes in contact with you see that you are an author, and there's this book.  People like having an author in their community and knowing what he's doing.

--The next circle outward is your family and friends.  Exploit them mercilessly.   Well, okay, enlist them.  Make sure they have your book, one way or the other.  Give it to them for Christmas, if nothing else: probably save money.  They should be introducing you to people as an author.

--Your workplace.  Shouldn't you have a sign about your book in your cubicle or desk or whatever?   It's a valid as a picture of your rotten kids or stupid boyfriend or loser sports franchise.   And a few copies in the drawer in case somebody bites.  Spare copy in your briefcase.  Take it out to get to the folder below in your briefcase at meetings.  Be in the company newsletter.  Be in the alumni newsletter.  

--The next circle out is your neighborhood.   Is your book at the local coffeehouse?   Card on the board at your local pub, market, etc.  Prize in raffles for school events, etc.  In your local weekly paper (the easiest media to score)?  

--Next circle out is your town or city.   Then your region, your state, etc.

--There are internet equivalents of neighborhoods and regions.  This forum is one.   Forums that deal with your city, your job, your hobby, your area of focus in your books...you're already a citizen there.   And all roads lead to your website, to the purchase point.


There is an idea that "being everywhere" is a big deal.  Actually, nobody is going to notice your book on amazon, and it doesn't increase the chances if it's also on B&N and a thousand other "stores".  
Yet you see sites with twenty buttons... the reader has found your site, and now you show them a dozen choices or more on where to pay?  How does that help?
Where you lead them to is your site, with a buy button.  

They are not going to notice it at a chain bookstore or WalMart.
Where you lead real world people to is the local bookstore or coffeehouse where your book is on sale and both you and they are known.

The concept is actually fairly simple.  You snowball up from the most basic and do-able (and satisfying) to the larger, more remote scale.  Each level of sales and awareness you generate helps present you to a larger, more remote circle of potential buyers with a more defined and positive face.  You're not sending a press release you your city paper, you're showing them local articles, thanks from civic leaders, a discussion in your little local library...you as feature.  When you try to get reviews in bigger papers, radio, websites, you are coming in with an entourage, a real "author platform", not 50,000 "friends" on MySpace who don't know who are and wouldn't loan you cabfare.

As opposed to the "everywhere cloud",  trickle-down approach,  it's grass-roots, an upward growing, outward spreading way to do things.

Hmmm...  this is worth it's own thread, huh?


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## Ilasir Maroa (May 10, 2010)

It's not like I'm saying reverse shop-lifting or other forms of guerilla marketing are immoral.  Doing them doesn't make you a bad person.  But you're not _entitled_ to a place in a bookstore just because you wrote a book.  A bookstore is a private business and they have a right to run that business however they like.  If they don't want to take self-pubbed books, that's their business.


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## MaggieG (May 12, 2010)

lin said:


> Exactly.   I have an ebook on the way about "self-publishing for profit" and it takes an entirely different tack from the standard flack we get exposed to:  seminar on how get 60.000 Twitter followers as a "platform",  how to drive your book to the top category on amazon, all the crap you see over an over.
> 
> There's a whole "internet wisdom"  concept that what a writer needs is to get on amazon, get on every social network alive for hours, get into chain bookstores, get on every amazon/onlinestore in the universe...and get rich.
> 
> ...



lin 

You are dead on the money. This is exactly how you get started. Nothing thrills your town library more than to have a local "writer" in their midsts.  They are in the business of promoting reading, and they don't really care what's being read as long as it brings more interests ( and donations ) into their library. Going to the local newspaper, and suggesting an " Arts" section with writers, photographers, musicians, artists, etc works as well. Promoting what is within that town promotes them. If you are connected with the local college, go to them. This is good stuff too.  You build a "local" fan base ( whatever you want to call it ) and move from there.


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## Linton Robinson (May 13, 2010)

In an era when there is so much screaming about "platforms" (and total misuse of the term)  I think it makes more sense for writers to think in terms of "lighting up" their author brand.

An analogy I like is a hologram.   You look at a hologram of an object, then cut the holgram in two...and you still see the whole object, just dimmer and with less detail and resolution.  What you want to do with your own image is the opposite of that: keep adding little bits of information of linkage that merge into a picture that doesn't say, "Hey! This turkey has a book out!!!",  but says,  "Oh, yeah, the author guy."

All the things you mention help.  All links and mentions that show up on a google search help.  So yeah, you have a video, yeah you have an ebook version, yeah you have a serial podcast or web novel going.   There are T-shirts out there, people who saw you at a reading,  people who show friends a signed book.   Each is a tiny piece, but it feeds into a "constellation" around you as an author.

If you frequent a beach or park or coffeehouse and always have your book on display--and I mean ON DISPLAY: sitting up where people going by can see the cover--you start to get to be "that guy with the book".  And the book starts to get to be a part of the subliminal landscape that we call "culture".


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## TWErvin2 (May 25, 2010)

A number of excellent ideas have been posted here. Will every writer find each useful or something they would do? Probably not.

I've found that author events at festivals (book festivals, arts festivals, holiday festivals) work pretty well. Not only do you get to talk to potential readers and sell books, but you network with other authors and vendors. Having quality works to sell and presenting yourself well--one event leads to invites to other events from readers who visit the event, other authors/vendors who are participating or organizing future events. While I've had some success at bookstore signings, so far my experience indicates other venues work a bit better.

As far as bookstores, I've had some success with my work stocked at local bookstores in my area. Offering the owner and/or regular staff a signed copy of your novel goes a long way. They appreciate the gesture and if they do like the book they usually share it with other staff members and they recommend it to customers. The bookstores my novel is in do sell, anywhere from one to several a month (and occasionally more). That doesn't equal a runaway best seller, but it is just another avenue forward, and it does equal happy customers and profit for the bookstore.

Terry


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