Ease Your Clients’ Pain Before You Even Meet Them

Like all service-based industries, hypnosis relies a lot on first impressions. The moment you meet someone, they begin to form impressions about you. If a client forms the wrong impressions, it makes them harder to work with (assuming they don’t leave). But now, many clients form impressions of you before they ever lay eyes on you.Many hypnotists ignore marketing. Some don’t bother because they get enough referrals to book the solid. Others struggle to figure out what to say. The good news is that, if you have a decent homepage for your website, it puts you ahead of everyone else.Your website is your digital reputation. It’s what potential clients see before they meet you. An effective website, like a powerful reputation, sets them in the right frame of mind to meet you. Everything becomes easier when clients expect great things from you.


Make sure that your homepage includes information like contact details, opening hours and your street address. When clients go looking for this information, it means they’re thinking of hiring you, so make it easy for them. But this is information about your business. As important as it is, clients care about something more…Clients aren’t thinking about you when they read your site. They think about themselves. So talk about them!I see many hypnotists go on about themselves and not the clients. They talk about how they prefer Elman inductions to Erickson’s approaches. They spend pages rambling about their background, journey and lifestyle. Include this information if you think it adds personality, but hide it. Your clients don’t care – all they want to know is that you can help them.When a client opens your page, you have a few seconds to grab their attention. The main headline and the first paragraphs are your only opportunity to grab them. Don’t waste this by saying ‘Welcome to Hypnosis Business #78297′. As polite as that is, the client doesn’t want friendliness. They found your page because they carry pain in their heart.Your headline and first paragraphs should focus on the benefits to the client. Talk about their problems. Talk about what makes the problems unbearable and how they’ll feel after they’re free from them. Maybe allude to how hypnosis will help them, or maybe save that for further down the page. They are in pain now and don’t want to be. They want to know that you understand, so show that you understand.


This is your hook. Once they believe that you appreciate their situation, they’ll listen when you mention solutions. Hypnosis will alleviate their suffering. That’s what they care about and that’s why they’re in the market for your skills. Put yourself secondary to their needs. After all, in your client’s mind, that’s exactly where you are.

E-Books: Value and Price

For the last several years, the debate has raged over e-book pricing. What is the best price? What is the customer willing to pay? What should the government and courts do to monitor the situation? It can all be confusing and put authors into a tailspin.

While the courts, online retailers, and large publishing companies continue to argue and battle it out, what is the independent author supposed to do? No one has all the answers, but some common sense, a little experimenting with prices, and some knowledge of the industry can help you determine an appropriate price for your e-book. Remember, there is no perfect price for every book; what is a good price for one book may not be the right price for another.

Here are some questions to consider when determining the price for your e-book:

What is the value of your book?

You need to determine your book’s value before you set the price. Did you write a short erotic novel to compete with the other one million out there that you spent maybe a month or less writing? Then its value is probably fairly low because it may not be in great demand. Are you writing a specialized thesis on a topic that has never had a book published on it before-then the value may be very high, although your reading audience may be small. Did you spend ten years writing and researching your book, or did you write it in a week? Can your readers easily get the information in your book elsewhere?

I once told an author her one hundred page history book was overpriced. She replied, “What do you think my book is worth when I spent five years writing and working on it?” Obviously, she perceived her book’s value as high, but her readers, seeing a slim volume that won’t take long to read, may not see it as so valuable. Consider also the value of your reader’s time. Will your reader think it worthwhile to pay $9.99 for something that takes an hour to read? Perhaps time is more valuable than money to your reader so he won’t want to pay $9.99 for what he may perceive as ten hours of work reading your book but he would pay $2.99.

If you insist your book’s value warrants a higher price, you could be right, but you will need to convince your reader of that value through your marketing efforts.

What is the most and least you can charge for your e-book?

Never should you price your e-book over $9.99. While a few major publishers can get away with higher prices for best-selling authors, $9.99 is the limit for most of us because Amazon decided that $9.99 was the cut off for paying out higher royalties. Books priced between $2.99 and $9.99 will receive 70 percent royalties from Amazon, while those over will receive a lower royalty of 35 percent, meaning your $15.00 book will earn you only about $5.00 as opposed to $7.00 for your $9.99 priced book. I won’t speak to every e-book retailer’s pricing model here; you’ll want to look at them individually, but $9.99 is definitely the highest you should go.

The advantage to pricing high is more money per book, but it also means you will likely sell less books. That said, lower priced books might be seen as of less value-being from unknown authors, poorly written, or simply short. To me, anything priced under $2.99 I automatically think must be of lesser quality and that even the author doesn’t perceive its value as high.

If you’re an established author, a middle price of $3.00-$6.99 is reasonable for an e-book and probably will not dissuade most readers from buying your book. Only if you have a book the reader will perceive as having high value should you price it in the $7.00-$9.99 range. A book in that price range should have the value of information worth buying, or you should be a well-established author with a large following-meaning thousands of readers.

How many books do you want to sell?

If you price your book at $0.99, you’ll need to sell ten e-books to equal if you had priced it at $9.99. Possibly, the lower price will make your book attractive enough that you can sell ten times as many books, as if you had left the price at $9.99. If you can sell ten books at $0.99, wouldn’t you be better off because now you have ten readers more likely to read your future books so you can price those higher?

What does the competition charge?

Look up other books in your genre. If you’re a new romance author, what are other new romance authors charging? If you’re writing your third business book and your first one became recognized in the industry, you can probably afford to price your business e-book higher. Price at or slightly lower than the competition for books in the same genre or similar to yours. If a reader sees two books about Lady Jane Grey, and yours is a dollar lower, unless the other book appears to have more information, yours is the one likely to be bought.

Where are your readers buying their books?

While I doubt many of the e-book sellers out there are spending time comparing what you’re selling your e-book for at various online stores, you probably want to be fair in charging the same price across the board. That said, just because your book is at Amazon doesn’t mean that’s where your readers are going to buy it, so make sure you sell it at many sites-Barnes & Noble, Kobo (the Canadian e-book seller), and Google Play (where people with Android phones and tablets are buying). Are you selling to the twenty-year old who is likely to buy at Google Play or are you selling to senior citizens who might prefer to buy at Amazon, which is more familiar to them? Make sure your book is at all places and then price accordingly. Your twenty-year old is a college student with little money so $0.99 is a better price for him, but then most e-book sellers will want you to sell for the same price at all their stores.

Do you have more than one book, especially a series?

If you have more than one book, consider pricing one lower. If you’ve written a series, you might want to give away or price low the first book in the series to sell it. Then if you hook readers with it, they will want to read the rest of the series. If you’ve written multiple books but not a series, I recommend pricing the book you and other readers consider your very best book as the lowest because after all, you want your very best to be what people first experience so you give the best impression and win them over as future readers.

Could you serialize your book, or sell it in individual chapters?

Serialized books-especially novels-have been around for centuries, and recently, more and more authors have started to sell their books as chapters or short installments. If you’ve written a short book-up to fifty pages or so-and it works as a stand-alone piece, price it low, such as at $1.99, and then continue the series at the same price or slightly higher. The reader will be more likely to buy four books at that lower price, if he likes the first one, than buy one book for $7.96 when he isn’t sure he’ll like it, and you’ll still make $7.96 if he ends up buying all four.

How good are you at marketing your book?

Marketing is the bottom line. Whether you price high or low, just because you’ve written a book and made it an e-book doesn’t mean anyone is going to read it. Yes, someone might stumble upon it at an online bookstore and buy it, but if you make a true effort to market it, you’re going to sell more books. If you are good at marketing, you will be able to promote your book as having value and being entertaining, and then perhaps you can price it higher because of that perceived value and higher interest. If you’re not going to spend much time marketing, then price low so the lower prices can help to compensate for your lack of marketing efforts.

Don’t Be Left Behind

No hard rules exist for e-book pricing. Every author needs to determine what works best for his or her individual situation. Try pricing high, and if your books don’t sell, try pricing lower. Be aware of trends or reasons why your e-book might be more popular one month than another-if you’re writing about the American Revolution, you might sell more e-books in June and July around Independence Day than you will in February-so maybe you lower or raise the price accordingly at such times. Develop a strategy, stick with it for a few months, then reassess and readjust your prices accordingly. Whatever you do, remember that e-book sales are now starting to outpace printed book sales, so don’t be left behind by ignoring the e-book pricing question.

Book Trailers: Compiling & Arranging Elements for Effective Results

In book marketing, there are numerous promotional avenues. There’s Facebook, media interviews, book signings, book tours, news releases, and speaking engagements. These approaches are straight forward and rely on communication skills found in most writers. Book trailer is an animal of a different sort. It demands an assortment of skills and resources, mainly condensing the story to its most tantalizing elements and embellishing it with photos, videos, text, voice over, sound effects and music. It’s complicated, time consuming task, and if you hire someone, very expensive. Yet with some simple strategies, guidelines, and resources you can produce an effective video with little or no money. That is, if you have a video camera/smart phone and an editing program, things you likely have already and don’t know it.

Defining Goals

First, let’s look at what you want to accomplish with at book trailer. In general, you want to promote book sales. However, being more specific you want to hook the viewer with unique and enticing information so they will watch the entire video. If you lose them before you’ve completed your pitch, there’s little chance of a book sale. As such, you require new and fascinating information throughout the video, information that not only holds their interest, but moves them toward buying your book.

Another goal is to make your trailer shareable, that it moves on from your initial viewers to their friends and followers. If your video resonates, it’s possible it will spread beyond your contacts. It could have an afterlife that spreads exponentially through social media. If you ask, you get. So, it makes sense to make this request, please share, toward the end of your video.

Compiling Elements

What types of things go into a book trailer. Normally, trailers answer potential readers” questions such as: what’s the book about, what’s the genre, is it any good, plus something about the author. Such things are usually found on the inner flaps of the book or on the back cover. If not, the following template used by producer Nat Mundel to create loglines that land movie and TV deals will help in that regard.

TITLE OF BOOK is a GENRE about NAME OF PROTAGONIST, AGE, ONE OR TWO VIVID WORDS DESCRIBING THE CHARACTER who wants HIS/HER IMMEDIATE GOAL. When THE INCITING INCIDENT happens and ONE MAJOR PLOT POINT, he/she goes on a journey to ACCOMPLISH GOAL and discover/realize/find THEME.

The above template is a great starting point to help you distill your book down to two sentences. It clarifies the genre, offers a mesmerizing shiny object that grabs their attention, and provides enough to leave the reader wanting more, all in a few brief sentences.

A logline is a one or two sentence description of your story that boils down its basic premise in a way that’s concise yet evokes emotion in your reader. It highlights what is most unique about your book. Specifically, the logline provides the author with a way to focus on the three main anchors of their writing.

Who is the protagonist?

What do they want?

What is at stake?

Once you have the logline sketched out, look for some escalation in the book that ups the stakes. It could be a confrontation or complication that takes the story in a different direction. The outcome should be unclear. It could also be the discovery of a new evidence, a red-herring, or a revelation that gives hope to reaching the goal. This section presents an emotional argument for buying the book and sets the hook before the prospect is reeled in. Most importantly, it sets up a question in the viewer’s mind about how this story continues.

The next section is more specific. It could be a brief discussion about the character traits of one of the main characters and how this reflects on the story. This might include character faults, misplace dreams, or foibles of the heart. It answers the question why. It could also be about the location or period of the story and what effect it has on the characters. Another consideration is the social or morale setting and how this affects the direction of the story. This section pulls the viewer deeper into the story, both emotionally and literally, asking the question, “Why did this happen?” It can also facilitate a love-hate polarity that further draws the viewer into your story.

The last section is closing the sale. By using adjectives commonly found in reviews it could imply the benefits of reading your book. It could present some additional arguments such as testimonials, reviews or awards. Being on any best seller list likewise deserves mention here. Acknowledgements for use of photos, videos and music are also shown in the section. You should also make a request to share this video. The most important part of this section is stating prominently where the book can be purchased. Various images of the book should be used in this section to imprint cover art and book’s title.

You will note that each section provides new and revealing information. It pulls the viewer in, creating an investment in different aspects of the book. Primarily, it creates that pressing question, “How does this story continue?” And that’s the bait that hooks your viewer and causes them to buy your book.

While there are other templates, the above format serves fiction books well. It answers the questions book readers ask and provides the information in a straight forward memorable fashion.

Writing your script will be a major task in that it demands a different style of writing, one that is denser and more compressed. Your script should contain both the narration and the card or graphics displayed on the screen. You should know that narration spoken over images is processed easier and quicker than the graphics competing with it. Thus, words on the screen tend to be brief, short phrases or individual words designed to be memorable, imperative and engaging.

Narration, on the other hand, relies on the human voice-to emote, phrase, emphasize and resonate- to develop deeper meanings. Its task is to tell a complicated story briefly and compellingly; or to highlight characters, situations and conflicts. Writing has to quickly and powerfully present the “saleable” qualities of your story, such as the characters and conflict(s) while hinting at likely outcomes. It might also convey the tone, style, and quality of your book.

Narration should use a recognizable vocabulary, figures of speech, and accepted language. Also, avoid long sentences and complex ideas, as the viewer’s attention is split between images, graphics and narration. If there is dialogue that explains a crucial story point, allow the narrator to take on that character and for greater impact, post the dialogue on a white screen.

Avoid wall to wall narration as this will soon dim the viewers’ interest. To take its place and vary the content, mix in moments of sound effects, graphics and/or music. Likewise, consider the use of live video with sound as this will too enliven your presentation. In the closing section, some narration can be used to punctuate key selling points even with same information shown on the screen.

How you end your trailer is indicative of its success. Final impressions like the initial ones are of greater importance and more memorable. So, with what impression do you want your prospect to leave? What indication of finality would work? It could be a musical ending over the image of your book cover and its tagline. It could also be a sound effect used earlier that congers up a certain feeling. Another choice is the sudden, startling glimpse of the killer’s silhouette, knife raised ready to strike accompanied by a woman’s scream. Whatever your choice, you want the viewer to go away literally and emotionally wanting more.

Now that you have scripted your book trailer, you need to come up with visuals and sounds that embellish them. Visually, these could be text, photos, videos and visual effects. Sound wise, they could be dialogue, voice over, sound effects or music. These embellishments should tease the viewer’s imagination to where the trailer plays out in the viewer’s head more so than on the screen.

Before you start searching for images, define what specific embellishment you want and approximately where they will be placed. Such a predetermination will reduce your search time and help maintain the focus of your video. In doing this process, compile some sort of record keeping so the inserts are labelled as to location within your script and where they can be found. Some embellishments may have alternates, ideas that might work provided the right image, sound or music can be found. I would designate these alternative with suffix a, b, c, etc.

In a normal 60-90 second book trailer, who might have the following number of embellishment inserts.

Voiceover: 60 seconds, 100 words max; 90 seconds, 150 words max

Text, titles, captions & listings: 85 words

Photos: 12 photos + various photos of book cover used 4 times

Videos: 2 Videos; 1 stock, 1 live action (About 5 seconds each)

Sound Effects: 3 sound effects + transitions as required

Music: 3 tracks (could be from same selection)

Visual Effects: 2 for moving text; 8 for photo & video transitions

Many of these media inserts can be found online. Sites like unsplash.com, librestock.com, and gratisography.com offer high resolution images that you can download for free. Another site for free music and sound effects is YouTube.com/audiolibrary/. You can find free public domain video clips at archive.org. For music go to freestockmusic.com. You will need to create a free account and can download various types of music for free with no royalty restrictions. Other media resources can be found on Google by searching for royalty free photos/videos/sounds. Do not use copyrighted materials.

If you feel uncomfortable about using your own voice, you can use a professional voiceover artist as found online. There are numerous voices from which to choose and demos are available on each artist. For voiceover narration on the 150-word example previously mentioned, costs would be about $25 on sites like fiverr.com music & studio/voiceover services. A special script should be compiled for the outside narrator, which indicates how you want the narration and dialogue to be read or expressed. These directions should be placed in parentheses prior to the words spoken.

There are some media inserts you may want to produce yourself. Your book cover, for instance, may be shot straight on, from the spine angle, and upright/slanted. Closer angles on the book cover’s artwork may also be relevant to your script. Background for these book photos should be on neutral or white poster board with some shots allowing room for text.

Other images that create the essence of the scene can also be produced with photos or video. Such inserts should be ambiguous allowing the viewer to fill in the blanks. Examples might be: a fearful eye wondering what’s behind her, a sound of footsteps approaching, two hands lovingly overlapping. Other inserts might be the scream from an open mouth, a hand clutching a knife, two lovers moving away through a park, a freeway clogged with traffic, a back lit image of the menace, a shadow of a hand holding a gun.

These images and sounds can prod the viewer to use his imagination and the results are more persuasive than using realistic images. Most video cameras have excellent sound recording ability, especially when using an external mic. Therefore, consider using your camera as a sound recorder and capturing just the sound by hooking up only the audio connections.

You might also want to consider a behind the scenes video section relating to research, character creation, establishing a story location, or target audience. Images with voiceover might be author at computer: medium side shot, fingers typing, author’s face looking at screen.

Now that you have compiled and downloaded or captured your trailer elements, how do you put them together. Before you start the editing process, let’s look at the setup of editing programs. The main feature will be the time lines. This is where video/audio clips are laid in and cut to the desire length. There are additional time lines below used for narration, sound effects and music. In the more expensive editing systems there are additional time lines to layer in and sync up additional media materials.

Source materials can be downloaded from the web or capture off your camera. These items are stored in a project file and would include video clips, photos, sound effects, narration, and music. These items are placed into the time line in their proper location where text and titles can be superimposed on the visual elements. Additional adjustments such balancing audio levels, transition effects, and color balance smooth out the cuts and give it a professional look. When combined together these elements make up your book trailer.

There are numerous video systems available with vary capabilities and range from free on up. PC users can edit using Movie Maker which comes installed with Windows while Mac users can edit with iMovie. If not installed, they can be download for free from Microsoft and Apple respectively. The Movavi 14 is also available free from movavi.com or the Movavi 14 plus version goes for $39.95. The Pinnacle 21 editing system is available from pinnaclesys.com for $49.95. More elaborate Pinnacle systems are available at higher prices. Corel® PaintShop® Pro 2018 and VideoStudio® combination which edits photos, designs graphics and makes movies is available through paintshoppro.com for $150.00.

These editing systems come with tutorials schooling you as to their capabilities and operation. While the free systems come with basic editing features, spending a bit extra can offer more creativity plus more imbedded effects and media resources. It all depends on the complexity of your trailer and the quality you want.

Arranging Elements

Now that you have all your script and media elements at hand, you can begin the editing process, pasting them into your time line. But where do you begin. I would start with the element that is the most consistent, be it narration, visuals or music. In the example I proposed, narration would be the element that is least likely to change much. So, you would lay that in first. Be aware that you may have to add pauses or even quicken the pace. This can be done by either adding room ambiance or cutting out pauses between sentences. When you record your narration, record a minute or so of room ambiance without talking and use this to extend pauses.

Next, start adding your visuals that support or embellish your narration. The length of these visuals will depend on their complexity and the time it takes to read superimposed text. If the text complements the narration, then the visual time can be reduced. Avoid overwhelming the viewer with too much information. For emphasis, space the narration to allow the viewer time to concentrate on a lengthy or important text.

A device often used in infomercials is duplicating narration and text on a plain background. This ups the comprehension and makes the information more memorable. This also varies the flow and increases the viewer’s concentration. This device works especially well when text rolls out on the screen one word at a time, an effect possible on more elaborate editing systems.

There will be a tendency to overplay the images and text. Too much information muddies the waters. Remember that you want the viewer to imagine a great deal of the story. By hinting what the book is about, you let the story develop in the viewer’s mind. Utilize the idea that book readers have imaginative minds and enjoy filling in the blanks. It’s a good idea to slow the pace to allow time for important images and ideas to form in the viewers mind.

Try to have a couple of video clips in your trailer. These are usually without sound, yet the screen motion stirs up thoughts and emotions not possible with still photographs. They likewise increase the attention span and make subsequent information more interesting.

Pace is an important factor in book trailers. Too slow, you lose your viewer. Too fast and your information get lost. There’s a happy medium and it depends on relating new and interesting materials that engage the viewer. That’s why sketching out your script is so important, as it forces you to see your trailer as an informative and entertaining book talk on video. Your script allows you to see the progression of your story building, pulling the viewer into an imaginary world.

Avoid cheesy effects which distract from your message. Simple transitions like fade-in, fade out or cross-fades keep the focus on the trailer’s purpose, to create an awareness of your book and a desire to buy it. Keeping the clarity of this goal in mind determines the success of your book trailer. Sometimes, people become enamored with a certain phase or image that if lost would make the video stronger. Be conscience of this fault and seek outside consultation to rectify.

Use the same font throughout, but vary the font size. Be aware that your text will be read on computer screens plus mobile devices. As such, font size must be readable and this may limit the length of text placed on the screen. Rather than minimize the font size, extend the text to the next screen using ellipsis (… ). The font size of the text should be indicative of its importance. For instance, in the last section, the acknowledgements for use of images or music would be smaller than places where the book could be purchased.

When superimposing text on an image, delay entry of the text ever so slightly so the viewer’s attention is on the image first, then on the text. Such a delay ups the comprehension as you control where the attention is focused.

Selection of music likewise requires some guidelines. Be aware that your perspective book buyers are already indoctrinate by seeing numerous TV and film productions with music. Your tastes and sensibilities in music may differ from your perspective audience. It’s therefore wise to select music reflective of the genre of your book. If it’s a scary murder mystery, that’s the type of music that would support that type of story. The music has many functions. It can create mood and atmosphere, portray emotions, reference a time or period, or create unreal situations. Music can serve several purposes that are either important on the emotional side of the movie or help/enhance the storytelling.

Using wall to wall music diminishes its impact. Fade out your music at various points and replace it with sound effects. Then at the appropriate moment bring back the music to elicit a new perspective or emotion. In this way, by isolating the music’s entrance, you make it more effective and allow it to support a new idea.

To help smooth out your cuts, allow the sound to slightly precede the visual. This allows the mind to process one element at a time and also creates suspense as to what the sound means. These micro overlaps create that, “What going to happen next?” mentality that subconsciously pulls the viewer in deeper.

Subtle use of sound effects can create the proper atmosphere or instill a menace is present. Wind blowing through the leaves or the footsteps of an approaching mugger help prod the imagination to where the story becomes a fixation. In addition, sound effects help break up the sameness of media elements and create higher expectations about the book and its contents.

As you continue with the assembly process, you will note that adjustments and corrections have to be made. You’ll also find that certain sequences don’t work, they don’t move the viewer toward your goals. This is a normal part of editing. It’s like writing a book, where much of the time is spent rewriting.

Before you make big changes, save your file. Then prior to making changes rename and save the file. In this way, you have a backup should your file become corrupted. In addition, should you find that you prefer your original better and it only needs minor corrections, then you still have that version.

The last section is where you close the sale. You offer in text and/or voice-over more arguments for buying the book and where to obtain it. As I mentioned before, these could be a complementary statement about the benefits of buying this book using adjectives commonly found in reviews along with a listing of testimonials, review quotes and/or awards. Also shown in this section are acknowledgements for use of photos, videos and music. The most important part of this section is stating prominently where the book can be purchased. Various images of the book/cover should also be featured in this section. It also helps to place somewhere in this section a sticker-like graphic reading, “Share this Video.”

Once you have your final version completed, let it sit for a few days then come back to it with fresh eyes. Look on it as a book buyer and judge if it meets your expectations, that it strongly encourages the purchase of your book. If not make corrections. If it does, then pass it on to people who will give you an honest evaluation. Don’t corrupt their judgment with additional information. Simply state you want their response to seeing your video book trailer, whether it’s positive, neutral or negative. Request specifically what they liked or disliked. With this consensus, make adjustments as you see fit.

Distribution of Book Trailer

When your book trailer is ready for distribution, you still need to prepare copy to go along with it. For YouTube you should have a description of your trailer that includes the title of your book, author’s name, and what’s it about. To make your video stand out, write a unique description with a catchy, enticing headline. Likewise, add tags. These allow users to find your video by linking common words associated with your video. If done properly, such copy greatly increases the likelihood of finding your video on a Google or YouTube search and having your link opened. This description and information can likewise be used on other video hosting services such as Facebook and Vimeo. Check Wikipedia.org for complete list of video hosting services.

To upload your video to YouTube, follow the instruction found at wikihow.com/Upload-a-Video-to-YouTube. Similar instruction for other hosting sites can be found online. Some editing systems have programs that simplify this uploading.

There are also video syndication services, however their fees are beyond most authors’ budgets and when term payments run out, your video is removed. While posting them yourself is time consuming, it negates this problem and they remain on the Internet forever.

There are numerous other ways of getting your video seen. Facebook and Twitter postings with links to video with a brief description is one way. Also use LinkedIn updates with reference to your trailer and its location. Another place is reader forums pertaining to your genre or audience market.

Your own website is another place to not only post your video, it should likewise serve as a depository displaying more information about the book and a bio of the author. Also consider email distributions to followers, friends, acquaintances, and of course family members.

If you have an author’s page on Amazon, this is another place you can post your video. However, there are numerous restrictions which are posted at https://authorcentral.amazon.com/gp/help?ie=UTF8&topicID=200649570. On your author page, you can also share video interviews, book signing videos, and other videos with readers. Your videos should focus on specific features of your books or your experience as an author.

Also consider news releases, either email or letter, to journalist, book critics and book bloggers. Another good source is free or low-priced newswire services. It just a matter of filling out the form with the proper entries. Such postings can up your web presence as well as improve your Google ranking.

Most authors expect the trailer to pull in a lot of interest when actually, it’s all the efforts promoting it that do the heavy lifting. If nobody knows about your trailer, you can’t expect much. However, if a whole lot of people see your trailer, a percentage of them will end up buying your book. It’s a numbers game. Likewise, if you strategically place your trailer in all online/offline places where your prospective book readers hangout, good things happen. The desired goal is to get the viewer interested, either in making the purchase or in finding out more.

While this article covers the basic considerations in creating a book trailer, there is a great deal more to be learned. One way of increasing your knowledge is to look at book trailers available on the internet. You will discover there are numerous ways to create video trailers, whether it be through emotional implications, character driven, or story plotting. You might also consider a more impressionistic approach that strongly communicates the aesthetic of the book while only hinting at elements of the plot. Likewise, in using photographic/video-graphic images, avoid showing people, or at least not showing their faces in a clear way. You want your viewer’s imagination to build the characters as they would when reading your book.

By looking at numerous trailers, you will find editing techniques that will make your video stronger, like the slow zoom-in or the use of title cards. In particular, watch how the juxtaposition of images and/or music provides a feeling or thought different from what they emit by themselves. Also, be aware how pace, the unveiling of new and unique information, affects the degree of engagement.

While book trailers get few lifetime views and have notorious low conversion rates, they are superior on sales landing pages increasing conversions up to 80 percent. That might be the place where a book trailer best contributes to your sales. In addition, book trailers can make a lasting impression, they’re easy to consume, easy to share, and they stay on the internet forever. A book trailer can be a valuable addition to your marketing campaign, especially if your target audience, your potential readers view it. Homing in on that fact could reap huge benefits and increase your ROI.

In closing, it is better that your book trailer to be super simple, ultra-clear, and thoughtfully aligned with the imagery. The intent of the trailer is to illicit a sale, to get the viewer interested, either in making the purchase or in finding out more about your book. To do that, you must allow the viewer to imagine and collaborate in the making of your book trailer.

Choosing Your Book Format: Hardcover or Paperback

In the past, the decision about a book cover followed a steady pattern with traditional publishers. Most big name traditional publishers would print a book in hardcover, and then some months later, the paperback version would come out. This process was followed for a couple of reasons. A new book, especially by a well-known author, was a collector’s item. The first edition of a hardcover book was something to treasure, and it was often of the highest quality and made to be aesthetically pleasing, including having a dust jacket. People who wanted a book they could treasure for the rest of their lives would buy a hardcover book. But not all readers could afford hardcover books, so a cheaper mass market paperback would eventually follow. Depending on how much value the readers perceived that the book would hold for them, they might opt to buy the hardcover or they might wait for the paperback. On occasions where the hardcover did not sell well, the paperback edition was never released.

As the world of publishing has changed in the last couple of decades, more publishers have begun to bring out only paperback versions for books perceived not to be of such great lasting value, especially in terms of genre books like romance novels and mysteries. This move saves the publisher money and also makes the books available to a target audience that might not have paid as much for a hardcover of a mystery that can be read in just a few hours.

Now that self-publishing has become so popular, and because traditional publishers are struggling to remain financially stable, more and more books are being printed solely as paperbacks because it’s the most affordable choice. However, hardcover books are still chosen for significant titles by traditional publishers, and some self-published authors also choose hardcover books, often in addition, but rarely in place of paperbacks.

In choosing a book cover format, authors should think about the way the book will be used, the practicality of the cover choice, their own printing costs, what price the market will bear, and how potential readers will view the cover. Following is a breakdown of guidelines for choosing a book cover format for self-publishers.

Hardcover
If you are publishing your first book, you probably should keep your costs low until you know your book will sell, so you are better off opting for a paperback over a hardcover book. That said, there are some exceptions to this rule. Hardcover books are often a good choice for:

  • Children’s Books-because children might be rough with their books so these covers will give the book greater endurance.
  • Cookbooks-because a hardcover book can more easily lay flat on a kitchen counter for quick reference while cooking.
  • Coffee Table Books-hardcover books are easier to hold than paperback books because coffee table books tend to be larger than the average size of 6×9 or smaller used for most paperback books.

While most nonfiction titles and novels will do best as paperback books, you might also ask yourself what perceived value your readers will find in the book. How important is your book, and how important will your readers perceive it to be? Putting your ego aside, you need to understand that your readers are probably not going to place as great a value on your romance novel as they will if you write a biography of Mark Twain. The type of cover you use will speak to the reader, telling him how important your subject is. Remember, readers do judge a book by its cover.

One final advantage to a hardcover book is the amount of “selling” text you can place on it. It is possible to print a nice looking hardcover book without a dust jacket so that the front and back material are the same as if you printed a paperback. However, most hardcover books are printed with dust jackets, which allow for more text to be printed on them. A good formula for text on a dust jacket is to fill the back of it with testimonials you’ve collected from other authors or experts in your field. Then the inside front flap can provide a description of your book that might even run over onto your inside back flap. The inside back flap can also provide space for a short biography of the author and room for a color author photo. Room for more text means more space to sell your book to the potential reader.

That said, if you’re like me, you may find the dust jacket gets annoying while you read the book. I have a tendency to remove the dust jacket while I read, but if readers do that, it doesn’t hurt anything once the book has been sold.

Finally, think about the cost to you and the customer. A paperback book is more affordable to authors and readers. However, a hardcover can be produced sometimes for as little as four dollars more, and that cost can be passed onto the customer by selling the book for five dollars more so you still make a profit on the hardcover. The question is simply: Will people be willing to pay five dollars more for the hardcover edition?

Paperback
The paperback cover is most affordable, and except for the few exceptions listed above, it is probably the best choice for any book, especially novels and self-help books and other nonfiction titles. Again, your book will be judged by its cover, so people may perceive your paperback book as of lesser value-meaning they might actually think the content is of less value too-than if it were a hardcover. However, there is no longer any sense that people are “slumming” by buying paperbacks. I don’t know the percentages for a fact, but I would guess that at least 90 percent of books are printed solely as paperbacks today, especially among self-published books.

You have a little less space on a paperback cover to write text that will sell the book, but you can generally fit on the back cover all the information that you would include on the inside flaps of a hardcover’s dust jacket. If you wish to include testimonials, you can place them inside the front cover as the opening pages. I have mixed feelings about placement of testimonials. Many readers will read them in choosing to buy the book, but others will go to the book description first-most people will buy the book because the topic interests them more than because someone famous said the book is great-but having both can only help so it’s up to you whether or not you feel your testimonials deserve back cover space. Often you can fit just one or two short testimonials on the back cover with the description and author bio to balance everything out.

French Flaps
I’m seeing more and more books published with French flaps. This format is basically a hybrid. It is really a paperback book, but the flaps are an extended part of the paperback cover that fold inward to serve as a dust jacket without being removable. French flaps provide the same space as a hardcover for book descriptions without the expense of a hardcover with a dust jacket. A book with French flaps does cost more than a paperback, but depending on how many books you print, it will probably cost you less than a dollar more per unit.

I believe a lot of authors are choosing to use French flaps because they believe this format makes their book look more professional or significant than if it were simply a paperback. Readers may be impressed with the look of French flaps and even see them as a novelty, but frankly, I find such books annoying to read-the flaps have a tendency of wanting to flip up, making the book somewhat unwieldy. This format feels pretentious to me, like such books have delusions of wanting to be hardcover books.

Making the Choice
Personally, a standard paperback is good enough for me with the few exceptions of books I’ve listed where a hardcover is preferable. While I have offered some guidelines here for choices, no two books are the same and special circumstances may exist that would make one cover a better choice than another. Every author must choose for himself which book cover will best suit his book to promote its value as well as be most desirable in format and price to potential readers.