Essay Online

Has anyone else noticed a trend of books, both self-published and from commercial publishers, that were originally ebooks and have not completely shaken the unfortunate signs of their origin?

1.Since ebooks can be sold easily at 80-100 pages, but print books cannot, the book version gains length through appendices that take up one-third of the page count. Sometimes the appendices are quite tangential to the main topic, and other times they contain golden information that should have been better integrated with the main content. There’s also padding evident within the book, especially a lot of large illustrations, cartoons or Powerpoint slides that add little to the reader’s learning experience.

2.Because ebooks are often sold with a lot of time-limited bonuses, these books also contain bonuses printed in them &ndash bonuses that have already expired when the book was purchased! This just happened to me with a hardcover 2007 book from John Wiley purchased through Amazon.com - not from some aftermarket source. What were they thinking?!

3.Ebooks, both free and for-fee, often function as a first step in a marketing funnel, with a disproportionate emphasis on moving the reader into the next, higher-priced offering, such as a boot camp or seminar. I’ve read two hardcover books recently that have too prominent and too pushy a pitch for the author’s very expensive seminar. A book should be a self-contained information unit, with other offerings mentioned but not with a hard sell. All promos should be placed after the main text, not within the chapters.

4.It’s common to create and sell or distribute an ebook anthology by asking contributors to send something in on a loosely defined theme and accepting all the contributions, with wildly uneven quality and relevance to one another. If it’s got a salable title, people will buy this sort of thing as a print book also, but reviews will be so-so at best, and the book is destined for a quick death.

5.Above all, laziness abounds. Since most ebooks have a short shelf life, there’s little thought given to making the contents substantive enough to withstand the evolution of the marketplace for a year or two. People who buy books for their personal library don’t want something that will make little sense when they pull a volume down from their shelf in three years’ time.

People can be fooled once, but book lovers won’t buy that author’s “books” again when it’s really an ebook in the trappings of a book &ndash without a book’s soul. Additionally, one of the big benefits for an author of publishing in print is getting books into libraries. Librarians don’t normally purchase books with the above weaknesses.

Want to turn an ebook into a print book that fully works in its new format? Give it depth, organize it well, use quality control if coordinating multiple contributions, make it useful and relevant for years to come, and keep self-promotion low-key. Then you’ll have readers eagerly awaiting your next book &ndash and the next and the next &ndash to add to their personal libraries.

We all know that the way you say things is often just as important as what things you say. Expert authors know that they must be careful with the words that they choose. Everything that you put before your readers must not just be engaging, but it has to keep their eyes glued to the page and their hearts pounding with every idea. You are giving them the secrets to make their dreams come true! Who could stop reading that?? Who would WANT to stop reading that??

The format for gluing your readers to your book starts with the title of the book. It should be like the headline of an ad that is pulling in millions of dollars every day.

Next, you need to build great chapter titles. If you see the book title as a headline, consider the chapter titles as the sub-heads. To put it a different way, the headline is the bait that gets the fish to snap, the sub-head is what makes the fish keep chomping so the hook sinks deeper and deeper!

It is imperative that you are able to write titles that pull. A more technical way of looking at it is that your book title and your chapter titles are a series of descriptors that clearly describe your Unique Selling Proposition (Your USP). Your USP is essentially that which separates you from your competition in the market place. It is what provides you your competitive advantage.

Let me assure you that the way you word something can mean the difference between success and failure or in our case, between being read and being ignored!

Here is an interesting study:

One marketer discovered the value of words by trying 4 different headlines, marketing a diet product, over a 3-month period. The sales material remained identical.

Only the headline was different in each case (In other words, only the words changed. Look at the huge difference in results.)

The headlines were as follows:

1. Breakthrough New Diet Product!

2. A New Diet Revolution!

3. How A Texas Housewife Lost 23.5 Pounds In 32 Days!

4. Dieting Secrets Of A Desperate Housewife!

The Big Question!!!!

Which one do you predict would outsell all the others and by a wide margin?

I pick # ____ and Why did you pick that one?

The Study Results

Every individual response was carefully tracked and recorded. The actual

documented results may surprise you. Total sales were 165 units over this testing period.

Let me repeat myself.

The ONLY thing that changed in this whole sales process was the headline. Everything else stayed exactly the same!

Here’s a breakdown of the results each specific headline produced:

1. Breakthrough New Diet Product! 13 Sales (8% of total sales)

2. A New Diet Revolution! 8 Sales (5% of total sales)

3. How A Texas Housewife Lost 23.5 Pounds In 32 Days! 98 Sales (59% of total sales)

4. Dieting Secrets Of A Desperate Housewife! 46 Sales (28% of total sales)

Why do you think that number three out-pulled every other headline by a lot? I’ll tell you. Number three alluded to a REAL STORY. A REAL person who lost REAL WEIGHT in a REAL AMOUNT OF TIME. It combined in a sense the UPP with the USP. The target market that this ad was aimed at could identify with that, and thus they bought the product.

What if the advertiser just crafted headline #1 and wouldn’t change it? He would have lost 92% of his sales!!

What a lesson! You need to make sure that you craft a book title and chapter titles that will continually sell your readers on why they need to keep reading AND why they need to buy what you are selling!

I have lived in New York City my entire life. I often feel privileged to be a part of the energy and magic of this Mecca of celebrity. Under the semi privileged dome of my existence, I encounter the rich and famous at every turn. When I was a teenager, I crossed paths with Jerry Lewis in Times Square and bumped elbows once with Marvin Gaye.

As a passionate college student of Cinema Studies, I dined across the room from Woody Allen and stopped to compliment his latest film. At Caf

As a successful author interested in building a business off your book, you must understand the difference between features and benefits. Features are tangible and benefits are intangible.

Features describe what a product is or has based on physical/tangible characteristics. On the other hand, benefits are feeling oriented.

Remember that the reason that people come to the Internet is because they have wants and desires and want to be satisfied. This is the *sole* reason that people come to the Internet. The key for you is to market to people’s problems and present yourself as the only credible solution.

Once you know your market’s problems, you will create a list of benefits that they will experience from dealing with you. You want to distill this list of benefits down to their very essence, which gives you your key benefit. You do this by playing the Which Means What? game with yourself (choose a benefit and ask yourself Which means what? to get down to the base benefit)

Your assignment is to record all the features and benefits that your product will provide to your target audience.

What is the difference between Features and Benefits? Here are some Definitions to help!

Definitions

Feature = What a product IS or HAS

Advantage = What your product DOES

Benefit = How your product HELPS you

Example

Let’s look at the example of a pen. Let’s say you design a new fangled pen using a proprietary ink formula that you have developed.

Feature: Has non-blotching ink

Advantage: Won’t leave blotches of ink and hence smudge marks on a page

Benefit: Saves you the frustration of making a mess by smudging blotches of ink. Saves you the frustration of trying to get your ink to flow properly. (Which means what?) Saves you money since you don’t have to purchase pens as often.

You are now going to create a Benefits vs. Features comparison for your book.

An Exercise:

List every possible feature and benefit that your product offers your target group. Make sure that includes everyone. The key with successful marketing is to focus on the benefits, especially those that make you different in the market place, while meeting your market’s needs.

Remember, the most successful marketers in the world sell feelings. This is because they know the secret to making money from other people: People buy based on the emotional experience it creates for them and then justify their purchase rationally.

Position all the benefits of what your book, product or service does for someone. Then distill the key benefits that you offer the market place.

When you discuss your benefits use lots of subheads and bullets in the copy that you use in order to position them powerfully.

In fact, if you can get testimonials from people you have helped, have them list all of the problems you have helped them resolve and them look at the benefits of solving each of those. Have those writing testimonials for you key on the problems and the corollary benefits.

This is the best way of selling feelings. Focus on the benefits of your book, product and service and let others tell stories about how you solved their specific problems.

Ever had your moral convictions put to the test? Most of us think we know what we’d do in any given situation. But do we really? Maybe another unknown part of us surfaces and takes over&ndashleaving us in a confusion of questions. But the deed is done and we cannot take it back.

This is the predicament, Harry Jenkins, protagonist/lawyer of The Osgoode Trilogy finds himself in, at the beginning of the first novel, Conduct in Question. Harry longs for freedom and love, but has been trapped under his senior partner’s thumb and in a dead marriage for years. He’s always been certain of his own moral convictions, but when his partner drops dead in the office, Harry is free to make his own mistakes.

He and his wife Laura often argue about money.

&ndasha topic fraught with land mines. Her hardened face floated up in his mind.

“Law practice is more than just making money,” Harry had insisted.

“Of course!” she said in wearily impatient tones. “But it certainly doesn’t hurt to set the right value on your services.”

“So I’m not making enough. Is that it?”

“No. But if you didn’t get so personally involved with your clients, maybe you’d do better.”

Harry was astonished. “So I care too much about them? I care about what I’m doing?”… “Clients trust me! I’ve earned that. I can’t turn around and fleece them.”

Although not satisfied with life, Harry&ndash

had learned his lessons well. He had kept his part of the bargain. But where was his reward? Flashy cars and grandiose houses were the supposed perks of his profession. His Ford was surrounded by Audis. Playing by the rules had not gotten him far. Of course, he wasn’t poor. Laura and he were comfortable. Yet, there was a yearning, a sense that the time for making real money was passing. But it wasn’t just the money. A dull emptiness nagged at his spirit.

And so, he is ripe for the picking! Almost immediately, he is swept into a massive money-laundering scheme by the enigmatic Mr. Chin &ndash land developer &ndash thereby putting him in direct conflict with his oldest and wealthiest client, Marjorie Deighton. With Albert Chin’s huge retainer check for work to be done, Harry senses something is amiss. When he deposits the check in the bank, the manager demands he make a payment on his deceased partner’s very substantial and overdue bank loan. Otherwise, he will freeze the Chin money. In a dilemma, Harry is forced to use the Chin retainer to make a payment.

Harry was scrupulous about client funds, and would fret if the bookkeeper missed a penny. Snatching up his check book, he saw in his mind the bright and trusting faces of a hundred clients. He saw those faces turn gray in disbelief when he uncapped his pen.

Petty triumph gleamed in Mudhali’s eyes.

Despite years of circumspection and care, Harry was driven by a new and reckless fury. Either he made a payment, or the bank would freeze his accounts. Mudhali had nailed him to the wall.

Like most of us, Harry is good at justifying his actions.

Albert Chin had said that money was no problem, and after all, there was lots of work in preparing those offers. He would search the titles to the properties, do the corporate searches, and prepare six offers and submit them. Surely that would add up to twenty-five grand. Besides, Chin would not have given him such a munificent retainer had he not expected a sizable bill. And Harry knew that he was not the only lawyer guilty of such an infraction.

What does Harry do? After all, he may be our hero, but he’s a pretty human guy. Despite his instincts and better judgment, he turns a blind eye to obvious signs of danger and accepts Mr. Chin’s gifts.

Harry withdrew two first-class tickets for flights and a voucher for a three-night stay in a luxury suite in Nassau. “The Atlantis Resort,” he whispered. Shimmering blue waters danced before his mind’s eye.

After a moment, he said, “This is more than kind of you, sir, but&ndash”

Mr. Chin held up his hand. “Please. The conglomerate wishes to express its gratitude for your most timely service. We know you have made room for us in your busy schedule.”

“But surely not. The retainer is very substantial, and…” He fingered the brochure, which featured a photograph of sunny beaches and gently lapping water.

And so, much of Conduct in Question is about Harry trying to extricate himself from the clutches of Mr. Chin. But Harry has lots of other problems to contend with when he comes face to face with the nature of evil in tracking down the Florist, a sadistic killer with an artistic flair who believes he is called to judge the worthiness of his victims. But that story is for another day!

Today, writers have to find new ways to get their material out. The phenomenal growth of the ebook industry is no accident. This new medium of distribution is fast, efficient and extremely profitable.

If you want to start your new business of selling words, the same words, over and over again without lifting a finger when it’s done, then you have to start right now.

Maybe you’ve already started, or is it still just an idea? Maybe you just can’t keep at it or the finish line seems too far away. Either way, it can be frustrating when your “get-up-and-go” gets up and, well, goes!

It happens to all writers. The dreaded “writer’s block,” the equally troublesome “information block.” Or, worst of all, the “I don’t have anything worth saying” block.

The last type of block is truly the worst impairment to completing your ebook, as it can be damaging to your confidence. Anyone &ndash I repeat, anyone &ndash has a story to tell. You have a story to tell. We all do!

Unless you’re Dr. Wayne Dyer who writes all his books with pen in hand on a pad of paper in a continuous stream of consciousness, you will have to find alternative ways to get those pages done.

Here are several ways to keep the words coming:

Points to Paragraphs to Pages

In my last ebook, Simple Forex Solution

Most people in the writing world talk about the three levels of rejection–form, personal, rewrite–but I’ve discovered seven types (after over 200 rejections before being published and about hundred after, I should know). Learning how to analyze rejection is a helpful skill for any writer because you’ll learn what to ignore, what to consider, and what will put you on the right track or, as the case may be, off of it.

Here are the seven types of rejections that may find their way in your email or mailbox:

1) No response. The agent or editor doesn’t send you anything. I find these ones most annoying. You wait in anticipation, hoping, praying for something either in the mail or online. Nothing. Six months past. Still nothing.

2) Form rejection. These are the ones that start Dear…fill in the name. They tell you that your work isn’t right for them and wish you better luck elsewhere. There’s no feedback. You should toss these rejections immediately. But be warned, form rejections are easy to get if you don’t follow directions: submitting to the wrong magazine or publisher, a wrong topic, wrong manuscript format, or writing in crayon or invisible ink. To avoid form rejections, study the magazine or publisher’s criteria for submissions to make sure you’re giving them something they’ll want (i.e. a clean manuscript that addresses the needs of their readers) and not a missive of “Why I Should be Published by You.”

3) Multiple choice. These agents or editors have gotten creative and made a list of reasons they’re rejecting your work because a) they have something similar, b) the quality of your work doesn’t meet their standards and/or, c) they think you’re completely without talent and hope you’ll never query them again. Sometimes they’ll check one, sometimes they’ll check all three. This is still a form rejection because it’s too general to give you any real advice; however, you at least get an idea of what they’re looking for. But then again, if number three is selected it is best ignored because it’s just an opinion.

4) Personal note. These are nice, except when they’re mean. A nice personal note can provide support like, “Good job, but needs work.” A mean note on the other hand can be devastating like, “This is awful” written in blood red ink on the corner of your query. When an agent or editor takes the time to put “Not bad” on the corner of your query take it as the sign of encouragement that it is. Ignore the nasty ones. But even if they don’t tell you why your work is being rejected, you’re heading in the right direction. Getting a good or bad personal note indicates your style. It is my experience that it’s better to get some kind of response rather than just a form rejection. Why? Because that’s how readers will be. Some will hate your work. Some will love it. Receiving a response, especially a personal note, lets you know that you’re hitting buttons and that’s a good thing.

5) The critique. Most aspiring authors expect this type of rejection, but editors and agents don’t owe you this. They get hundreds of queries and manuscripts a week and they can’t critique all of them. If you do receive one consider yourself fortunate that someone has taken the time to tell you why they’re rejecting your work. They may be wrong, but at least you know why. Remember, they are taking a risk by sending you bad news. The form rejection is popular because many editors and agents have suffered the wrath of rejected authors who will bombard their offices with letters arguing why they think they critique was wrong. Don’t be one of those authors. Take what you can from the critique then move on.

6) Try again. This type of rejection is close to a personal note, but it’s never mean. They are saying that what you submitted isn’t right for them, but they’re curious to see more. Make sure you follow up.

7) Rewrite request. This type of response can make most writers jump for joy. The editor is interested and is offering hints on how to gain their favor. This is good news, of course, only if you agree with the suggested changes. Unfortunately, this is still a rejection and there is no guarantee that making the changes will result in a sale. However, the most important lesson to learn from this type of rejection is that you have caught the interest of an editor and it’s a relationship you should nurture.

No matter what type of response you get, ‘close’ is still ‘no.’ There is no gray area in publishing. You are either offered a contract or not. However, as I’ve outlined above, look at the type of rejection before you burn it. When you get varying rejections like: ‘I hate the character, but love the plot’ and ‘I love the character, but hate the plot’ you’re on your way. Why? Because whoever is reading your work is stating personal preference instead of offering a common complaint. That will be what makes your style unique.

Most writers loathe rejections and for some their careers never survive the pain of getting them. You don’t want this to happen to you. You now have the skills to sift through your rejections and never fear them again.

An important question for any artist is: How can I built a career and simultaneously be true to myself? It’s an important question, and during the twenty years I’ve taught writing, hundreds of students have expressed the belief that success and personal integrity are mutually exclusive.

The Lifewriting

A large box arrives from a New York Publisher. It’s here&ndashYOUR BOOK! You hurriedly rip it open and take the first book out. There it is…YOUR NAME as the author of your first book. You forget to breathe and your heart skips a beat in excitement.

You caress the spine and read the title and your very own name again. The cover looks great. You read the back cover and study it carefully. Even though you saw the proofs, it’s like you’ve never seen it before. Your excitement builds. There is nothing like the thrill of holding a book you authored in your hands&ndashexcept the exhilaration of growing rich because of the business you build around it!

You hold the book and feel its heft in your hands. All your hard work … researching the needs of your intended audience … reading about other books in your topic … looking for the needs that only you can fill … writing your book … creating “buzz” in your book before it ever made it into print … has paid off.

You hold the book to your nose and smell it. There is nothing like that new book aroma of paper and ink&ndash when you’re the AUTHOR!

Who will you tell first? Your spouse? Your best friend? Your mother? Or maybe the person or people who tried to squash your dream? You made your big dream come true despite all the negativity the dream-stealers could throw at you.

Because of everything you learned in the Entrepreneurial Authoring program, your book is already creating a stir on the internet and around the world. You are receiving offers to do interviews, be a guest on podcasts, and appear on live broadcasts. You are getting hit after hit on your website because you have wisely peppered the net with your articles and special offers. You are becoming the go-to expert in your area…

And you are helping thousands and thousands of people solve their problems…

And they are all coming back to YOU to help them continue to solve their problems.

And they are telling all their friends about your book…

And you are getting interviews and notoriety for your book…

And you have established tremendous credibility by providing value to people…

And your book is getting lots and lots of attention…

And you are growing a thriving business…

And you are growing RICH!

If this is your dream, take action right now and it will become your reality. Don’t keep telling yourself you’ll start writing that book “someday.” Make it a priority to start now! Get out a pad and pen and get started today!

Have you given much thought to the voice of your narrator? Perhaps you assumed the narrator in your novel should remain neutral. Many writers believe that the narrator should have little in the way of identity and the use of a narrator is essentially a necessary means of moving the story from one scene to the next.

It may come as a surprise to learn that your narrator can, and SHOULD, have a distinctive voice. The narrator should be used to do more than simply take the reader on a guided tour of your story.

The technique used to add life to your narrator is called ‘Voice’. How you ultimately choose to define the character of your narrator can add a new dimension to your work. By adding a unique personality to your narrator the reader has a chance to visualize the story through the eyes of someone that intrigues them. They may not particularly like the narrator, but the voice you choose help the reader find a new facet of interest in your story.

Your narrator could have a strained relationship with the main character and might make occasionally negative comments as they unfold the story. The reason for the animosity could be explained and resolved as the story unfolds.

The Disney movie “Emperor’s New Groove” was narrated by the main character who interjected humor, sarcasm and arrogance that allowed the viewer to gain a clearer picture of the primary character, the conflict his actions created, and the ultimate need for him to lose some of his pride. What is interesting is the narrator’s voice also allowed the viewer to actually enjoy the Emperor’s character even more.

In western fiction the narrator often provides range-hardened wisdom during the course of the narrative that leaves you feeling as if you’ve saddled up a horse and are paired up an agreeable partner that has much to teach you.

Some writing intentionally portrays the narrator as distant and rather formal in their story telling. In this case the writer does not wish to have the narrator play a significant role in the storyline and only wishes them to fill in the blanks with no commentary or personality showing through.

Determining the voice of your narrator can be an important element in the development of your story. Choosing the ‘voice’ of your narrator may be best achieved early in the story-writing process to avoid needless rewriting.