Part 2: The Ultimate Book Marketing Formula

Welcome back for Part 2 of the Ultimate Guide to Book Marketing! If you’re just stopping by and want to start from the beginning, you can find the complete series here. Each part stands alone, though, so if you’re just interested in a particular topic, feel free to jump in wherever you see fit.

The core of the Ultimate Guide to Book Marketing is a simple rule of thumb called The Ultimate Book Marketing Formula. This distills everything you need to focus on when it comes to selling books into a heuristic that can fit on a single 4 x 6 note card. There are no secrets, of course; the true power, if there is any, of the formula lies in its simplicity. It’s 80/20 embodied: it focuses on the 20% – the 1%, really – of vital tasks that will produce 99% of the results in your indie career. If you focus on these and do them well, you can start making huge strides quickly.

Before we hop into that formula, though, I have another, more general, formula to share that explains the basic framework of internet marketing. If you’ve found that selling books is a confusing, labyrinthine process, this should hopefully give you some clarity on how it works. It’s remarkably simple, but some marketing books massively overcomplicate things with arcane theories and buzzwords. We’ll cut through that and focus only on what matters (it’s just three things).

In this section, we’ll cover:

  • The Internet Marketing Formula
  • The Ultimate Book Marketing Formula
  • A Marketing Flight Check

Let’s start with the Internet Marketing Formula – otherwise known as how to sell anything online.

The Internet Marketing Formula

Effective internet marketing involves just three steps, adapted from Perry Marshall’s excellent 80/20 Sales & Marketing:

  1. Traffic: directing the right potential readers to your book page via paid ads, your mailing list, social media, Amazon’s algorithms and so forth. Commonly referred to in the indie world as “generating visibility.” Often thought of as advertising, although there are ways to generate free/passive traffic, too. This would be handled by an organization’s marketing team. Covered in Part 4.
  2. Conversion: convincing readers to buy your book via a stellar blurb and cover, competitive price, hook-filled first few pages and so forth. Later, you convert them into fans by pointing them to the next book in the series or offering them something of value to sign-up for your mailing list. This would be handled by an organization’s sales team. Covered in Part 5 (covers/blurbs) , Part 6 (email lists), and Part 7 (email engagement).
  3. Profit: did you make money? Track your numbers, so you know if your traffic and conversion efforts have been effective. After analyzing the numbers, you have two options:
    • If you made money, you repeat the process or, if you have additional marketing funds, slowly scale up your spend to grow your business.
    • If you lost money, you typically need to troubleshoot one of the following problems:
      • TRAFFIC: the advertising was too expensive or it was ineffective (e.g. you advertised to the wrong audience, or the promotional method didn’t work).
      • CONVERSION: your cover or blurb are weak, or your price is too high. Or you sent the wrong traffic to your book – e.g. you advertised your gritty, serious, hyper-realistic thriller to readers who like snarky urban fantasy with talking animals.
      • CRAFT: sellthrough (readers purchasing the next book in a series) is ultimately the lifeblood of your career. You can send a bunch of cheap, quality traffic to your Book 1 and get them to buy with a great cover/blurb/price…but if the story doesn’t deliver, no one’s coming back for Book 2. At which point you’re DOA, because it’s very hard to make a profit promoting a single book.
    • Ultimately, this can be summed up with the following rule: double down on whatever makes you money and immediately stop or fix what doesn’t.

That’s all marketing is: you need to direct targeted readers to your book’s page, and then you need to convince them to buy it; and you need to do these two things at a low enough cost to turn a profit so you can repeat the process again.

Simple. Not easy.

Note that, as authors, we’re responsible for both marketing and sales which, in a big organization, are traditionally split between separate teams. The marketing team finds leads and prospects, which are then turned over to the sales team to “close” the sale. These require different skillsets, which is why internet marketing can be tricky: you have to wear both hats. A third hat, if you consider that crunching the numbers is often the purview of the accounting department or data analysts.

I refer to (and think of) all of these components simply as “marketing,” rather than separating them into their traditional silos. They’re symbiotic and interlocked to such a degree that it makes much more sense to think of them under one umbrella, rather than independent entities.

Wondering how this traffic-conversion-profit cycle applies to book marketing specifically? Let’s talk about The Ultimate Book Marketing Formula.

The Ultimate Book Marketing Formula

As discussed in Part 1, your career hinges on three core components which I call The Indie Trifecta of Success: productivity + craft + marketing. Your job as an indie author comes down to honing these three areas through repeated practice. When your skills in one of these areas is weak, achieving success becomes difficult to the point of de facto impossibility.

But this concept, while useful, isn’t an actionable strategy. What benchmarks should an author aim for when it comes to “marketing” or “productivity” to be successful?

And how do we integrate this trifecta of skills with other important items we’ve discussed, like The Internet Marketing Formula and creating a personalized strategy?

Enter the Ultimate Book Marketing Formula. This heuristic is the 80/20 rule in actionthe key stuff that you must do, with zero padding. There are ten thousand more things you can do in this business. But if you consistently execute well in these six areas over 3 – 5 years, you’ll stand a good shot at making it. How can that be, you say? This formula forces you to focus on keystone tasksand, most critically, get them done. It is designed to maximize your odds of succeeding in a competitive business.

Ready? Here it is:

Or, put another way:

  1. Market research: researching what books are selling in your sub-genre—both consistently and what’s hot right now. Understanding the core tropes and audience expectations of your sub-genre. Then incorporating these into everything: the book, its cover/blurb, and advertising so that your target audience knows that your book is specifically for them with a single glance.
  2. Three targeted traffic sources: mastering three marketing channels that provide consistent visibility to your books instead of splitting focus and being mediocre at ten of them.
  3. Pro covers: using your market research to commission genre-specific, professionally designed covers that attract the right readers to your work at a glance; branding your covers so that readers can easily tell they’re in the same series and by the same author.
  4. Great blurbs: writing an engaging blurb that convinces your target readers to buy.
  5. Newsletter: building your email list so that you have a direct way to contact fans about new releases, updates, and other writing-related items; keeping them engaged between projects so they remain interested in your upcoming books.
  6. Consistently publish 4 6 quality novels a year: releasing four full-length (50,000+ word) novels a year provides readers with a steady stream of new books; it helps keep you visible on stores like Amazon; over a period of 3 – 5 years, it also builds a substantial backlist. It’s possible to succeed with fewer than four annual releases in certain genres (i.e. epic fantasy and psychological thrillers), but it means your craft or marketing chops must be significantly better to compensate.
    • Readers prefer full-length novels and will generally pay more for them than shorter works. Longer books also have a longer shelf life, which makes your backlist more effective.
    • Writing in a series increases your chances of success. A certain percentage of readers who buy Book 1 will also pick up Books 2, 3 and so forth (known as “sellthrough” or “readthrough”). An author with a long series of books with high readthrough can spend more on advertising and still be profitable versus an author who writes standalones/has poor readthrough. There are very few genres where you can write profitable standalones (psychological thrillers is one of the few genres that come to mind)
    • Amazon’s algorithm’s reward new releases, and readers like them as well. Consistent releases smooth out your earnings, making your cash flow more stable. Once you have good covers, good blurbs, and some effective traffic sources, your best marketing is a new, quality book. 

You can hopefully see how there’s significant overlap between the three core skill areas (productivity, craft, marketing). Market research is a marketing skill, but it also requires a knowledge of structure, tropes, and other craft-related elements. Publishing 4 – 6 novels a year appears to be primarily a productivity-based skill, but it can also be a powerful marketing tool on its own – and figuring out how to do it while maintaining quality is often a matter of refining your craft to a fine point.

Play with the variables in accordance to your personal strengths and weaknesses; some people are productivity monsters, writing 12+ books a year. They constantly tap into the massive boost Amazon grants new releases (covered in Part 4), instead of doing stuff like Facebook Ads. Other authors only release a couple times a year, but build a huge mailing list that reliably launches them into the Top 100. Which lever(s) you pull should be dictated by your strengths and overall strategy.

Please note that the most “controversial” part of the formula is the last piece: publishing 4 – 6 quality novels a year. This is not unusual advice, but it garners the most debate, so it deserves a little more examination. Publishing fast and in a series is not so much controversial as a sticking point where many authors balk and immediately say, there’s no way I can do that or I only like writing short standalone novellas. All that is perfectly fine, but focusing on what you want is a fundamental mindset error if you want to make a living writing fiction.

Being a novelist is primarily about focusing on what the reader wants and likes. You are providing them a service. When I go to a sandwich shop, the restaurant doesn’t decide to make me a turkey sub when I order ham and cheese, even if they think the former is much better. When it comes to books, this often means making concessions and compromises in what you like to deliver the product that readers like.

Of course, when it comes to writing standalones, or releasing a couple books a year, or even writing short stories/novellas, you’ll find exceptions who have been successful (often wildly so). People intent on writing standalones or shorts tend to focus on these cases to show that writing quicker/novels/in a series doesn’t matter.

While I won’t sit here and tell you that there is One True Way™, always remember that publishing is a probabilities game. This is already an incredibly difficult business; making it harder is generally not advisable. I am not making these suggestions because they are my personal preferences; in fact, I like writing standalones and my fiction tended to be shorter than novel-length at the beginning. Unfortunately, the market, in most genres, isn’t receptive to this; I’ve had to hone my skills accordingly. There were growing pains, but I can now comfortably write a solid 50k+ novel (which is still considered short by some readers) and maintain reader interest/a cohesive arc over a series.

You can argue whether this should be the case or not; debating the merits of series, fast releases, and the novel as a format is for another guide entirely. But releasing full-length novels consistently really is the most important part of the formula, and where most people stumble. Fight reader expectations at your own peril.

Now that we’ve talked about the Ultimate Book Marketing Formula, let’s spend a moment to discuss why craft isn’t the only thing that matters.

I’m Going to Ignore Marketing and Just Write Good Books

Content is king, the old saying goes. Put out good work, and readers will notice. Marketing is only for subpar titles or those that couldn’t rise above the fray based on their artistic merits.

This is not true.

The formula doesn’t ignore the importance of writing good books. It’s critical to your long-term successjust not in the way most authors think. Unfortunately, “write good books” is a uselessly vague piece of advice, often proffered with a not-so-subtle undertone: if you’re not selling, your books are crap. This might be the case, but marketing shortcomings are far more common, especially among creative types. We’ve all encountered fantastic TV shows, movies and books that died from lack of exposure. And there are plenty wonderful stories, too, that are simply too niche to make much commercial impact.

Thus, writing good books is not a reader acquisition strategy. No one can tell if your book is good from the cover or blurb (or even the sample, which I strongly suspect most readers don’t read prior to purchasing). They assume they’ll enjoy it if your presentation hits the correct notes. But it is not until they are deep within the book some hours later that the final verdict is known. Thus, writing good booksparticularly strong, satisfying endingsis a reader retention strategy.

Ultimately, all business is built on repeat business (which for us means readers who become fans). Without penning compelling books that your target audience LOVES to read, you will never have a career. But publishing a good book will do nothing by itself, either (with rare exceptions that I can assure you are not you), until you make it visible to the world through competent marketing.

Basic Flight Check: Things To Do Before We Begin

We’re about ready to jump into the book marketing. Before we do that, however, let’s make sure the groundwork is laid down. If you already have a mailing list, website, Amazon Author Central account, Amazon Affiliate account, and your Amazon series pages all in order, you can skip this section. Rest assured, if you’re further along in your author journey, there’s plenty of more advanced stuff coming.

But all of that stuff is useless without a good foundation. Hence, I’ll be going over a few important must-haves, so you can start marketing ASAP.

There are two necessities that every part-time or full-time author should have:

  1. An email newsletter service provider like Mailchimp (free up to 2,000 subscribers), MailerLite (free up to 1k subs), or ConvertKit ($29/mo for up to 1k subs)
  2. An author website
    • Domain (e.g. yourauthorname.com) ($12/yr from Google)
    • Web Hosting ($150/yr from Flywheel for lightning fast, rock solid WordPress hosting)
    • A website theme ($60 one-time purchase at ThemeForest)

That’s it. Other helpful services exist (depending on your needs and career stage), but they are optional.

There are about a thousand newsletter providers (all numbers approximate). I’ve used a bunch of them. I’d recommend sticking with one of these three.

I use ConvertKit for my main pen name; I’ve also extensively used both Mailchimp and MailerLite. They all do essentially the same thing, unless you’re getting into advanced features that 99.9% of authors won’t need. I recommend Mailchimp if you’re starting out; its free offering has everything you’ll need to sell books and build a fanbase. It also integrates with every service under the sun.

As for a website: there are absolutely Amazon-exclusive authors who are killing it without a website. That makes it technically optional. But the utility of having a central location to place your retailer links, newsletter sign up forms, backlist info, and contact forms (so readers, agents or publishers can get in touch with you) far outweighs the annual cost. Your author website will generate more money in the form of sales and newsletter subscribers than it costs to maintain.

Note that those benefits are indirect—a byproduct of selling books, not a driving mechanism for sales. Many authors believe having a slick website will generate visibility and sales by itself. Let me be clear: that’s not the case, nor is that the purpose of maintaining an author website.

A website just provides an easy way for existing readers to further explore your work.

I recommend using WordPress; there’s a learning curve, but it’s ultra-flexible and a useful skill worth developing (so long as it doesn’t thieve time from writing your books; if that’s the case, outsource it). You can either get a pre-built template (known as a theme) or hire a developer to setup a basic site for $250 – $500.

If you’re strapped for cash, that’s okay. Just create a free website using a service like WordPress.com. Once you have the funds, transfer the site to your own hosting and domain.

You can check out the site for my urban fantasy pen name (dnerikson.com) for a basic, clean design that works—I’ve optimized it to (passively) sell books and generate newsletter subscribers with little maintenance beyond the initial setup. I just add a new book’s details to the site when I have an upcoming release.

Highly recommended:

  1. A personalized email address (e.g. name@yourauthorname.com) ($60/year from Google)

The personal email address might seem like an odd suggestion, so allow me to explain: this increases the deliverability of your newsletters.

Broadcast emails from free email addresses like Gmail or Hotmail have a higher chance of getting stuck in spam. When you reach more readers’ inboxes, you get more opens/clicks, and thus more book sales. Once you hit a few thousand subscribers on your newsletter, the personalized email address often pays for itself in the form of increased deliverability.

Is that really it?

It can be worth experimenting with other services as your business grows and you have more money and experience. Until then, save the bulk of your cash for covers, editing, and advertising.

Other useful situation-dependent services include Prolific Works, Story Origin, BookFunnel, Book Report, and Vellum. For a current list of recommended resources (including designers and other services), please visit nicholaserik.com/resources.

Once you have these core pieces in place, you’ll want to make sure you have the following Amazon items squared away:

  1. Create an Amazon Author Central account. This is so you can claim all your books under your author profile (making it easy for readers to browse your backlist). It also allows you to have a bio, author photo, and link to your website. You do not need to enter a bio, picture, or website if you do not have one; many authors simply use their logo or their latest cover for their photo. You don’t have to sign up in all of the regions; just make one in the US (unless your books are super popular in another part of the world) and make sure you claim all your titles.
  2. Create an Amazon Affiliate account. While you can’t use Amazon Affiliate links in your newsletter, your actual books, or pay-per-click (PPC) ads (it’s against the affiliate TOS), you can use them on your website. Some promo sites will also allow you to use your affiliate code when you book a promotion. None of this will make you rich, but it can earn you a few hundred to a few thousand dollars extra a year (depending on how many books you sell) with zero additional effort. Much like the Author Central account, just create a US affiliate account—don’t worry about the other regions unless a huge portion of your fanbase is located there. I also wouldn’t bother signing up for affiliate programs on other retailers unless you sell in huge numbers there.
  3. Link your Kindle, audio, and print editions. This is supposed to occur automatically, but sometimes the automated system drops the ball, leaving your book’s various formats floating around in isolation. If all your versions aren’t linked, login to your KDP account and contact support to link your books.

Finally, you want to make sure your books are linked in a series on Amazon and have a corresponding series page. Amazon often does this automatically, but the automated systems can sometimes fail to add your latest release to the page. They’re properly linked when you see this on your book’s page:

When you click on the series nameThe Eden Hunter Trilogy, in this caseyou land on what’s known as a series page, which, as its name would suggest, displays the entire series on one page:

Linking the books in a series serves four important functions:

  1. Amazon’s automated systems will market Books 2, 3, 4 and so forth more aggressively to readers who have bought the previous volumes, since the system knows the books are related. On many devices, an automatic pop-up will trigger at the end of the book with a direct purchase link to the next volume in the series. This increases sellthrough.
  2. It clearly indicates on the book’s Amazon page that it’s part of a series with multiple books, rather than forcing the reader to hunt through your website/all your books to find out.
  3. Readers can one-click buy the entire series from the series page.
  4. The series page has relatively few ads or distractions, which means directing paid advertising traffic can be very effective when you’re running discounts on multiple titles in the series.

I won’t pretend doing these things is fun; if you’ve put them off, it’s probably because they’re boring. But spending a couple hours to tick off these administrative tasks will dramatically amplify the effectiveness of all your marketing efforts going forward.

What’s Next?

Now that you have an overview of the key marketing principles that form the backbone of this guide, we’re ready to dive into marketing. The remainder of this guide will tackle the Ultimate Book Marketing Formula step-by-step, giving you clear instructions on how to approach each component. By the end, you’ll have designed a customized marketing strategy tailored to your strengths and weaknesses—and plenty of ways to actually sell more books, too. 

We’ll start with Part 3: The Ultimate Guide to Market Research. Here, we’ll explore why product positioning and market research are the most important components of marketing. And why getting them wrong (or ignoring them completely) can doom your book before you write a single word.

Key Takeaways

  • The Internet Marketing Formula: generate traffic to your Amazon book page (via paid ads, mailing list, PPC and so forth), convert potential readers into buyers by having compelling covers/blurbs; later, convert readers into fans by having a compelling mailing list offer, and then crunch the numbers to see if your efforts are profitable. Finally, double down on things that make you money (e.g. repeat the cycle again) and immediately stop stuff that doesn’t.
  • The Ultimate Book Marketing Formula: market research + 3 targeted traffic sources + newsletter + great covers/blurbs + consistent new series novel releases of 50,000+ words (4+/year) = full time author
    • A new release is the ultimate marketing strategy once you have the other four elements working. Until then, publishing a good, new book is not a reader acquisition strategy; it is a reader retention strategy. To acquire readers in the first place, you need to generate targeted traffic and have compelling packaging (covers/blurbs/price).
  • You only need two things as a full-time author: a mailing list provider and your website. A personalized email address is recommended once you have a few thousand subscribers to increase deliverability of your emails.
  • Other services can be useful, but it’s easy to rack up unnecessary charges. Save most of your money for covers, editing, and advertising.

Action Exercise

  1. Make sure your mailing list, website, Amazon Author Central account, Amazon Affiliate account, and your Amazon series pages are all in order.
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