Why Self-Publish? An Interview with Richard Paul Evans

Why Self-Publish? An Interview with Richard Paul Evans

Why Self-Publish? An Interview with Richard Paul Evans
by Carolyn Campbell

Return to DIY Publishing · Print/Mobile-Friendly Version

Richard Paul Evans (http://www.richardpaulevans.com) originally wrote The Christmas Box to show his two daughters he loved them, and to tell his mother he understood her grief in losing a child. Yet through his persistent determination and marketing genius, Evans parlayed his self-published novel into a $4.25 million advance contract from Simon & Schuster and established himself as one of the most financially successful authors of the ’90s.

The Christmas Box made history as the only self-published novel to hit #1 on The New York Times best-seller list as a self-published book. It further set a precedent as the only book to simultaneously hit #1 on The New York Times hardcover and paperback best-seller lists. According to The Wall Street Journal, in 1995, The Christmas Box had the highest one week sales of any book in their list’s history.

What do you see as the most important first step in considering self-publishing a book?

First, don’t start by considering self-publishing. Becoming self-published is not the easy way to become a published book author, but it is sometimes the only way.

In studying self-publishing, you will see both history and the law of chance aren’t on your side. When I decided to self-publish The Christmas Box, no publisher wanted it, yet I sensed that readers wanted it very much. I would definitely begin by submitting the book to traditional publishers through an agent rather than trying to send it to publishers directly.

Are there ways to sense when it is time to shift from seeking traditional publishing to deciding to self-publish? How long did you wait?

You have to listen to your gut instinct. I quit sending The Christmas Box off to publishers really fast. I sent to six publishers. My mail all came back and said the same thing, and even all the local publishers had no interest. You need to listen to what the rejections are saying and ask yourself if they are all saying the same thing. If they suggest changes that make sense to you, as far as making a better book, do it.

But at the same time, realize that if you have something that is a new paradigm the experts often aren’t experts. A paradigm pioneer is going to be rejected because it doesn’t look like a best-seller. Both The Christmas Box and The Celestine Prophecy didn’t look like what was succeeding at the time when they were released. Now everyone wants to see a book that looks like one of those two books.

Are there ways to anticipate whether a particular book is marketable as a self-published book?

One way is what I call the tuna casserole syndrome. Say you have a great tuna casserole recipe. You invite friends over for dinner and they say it’s great. If some of the people at your party go out and start making tuna casseroles, that isn’t the time to self-market your recipe. But if someone calls back a week after the dinner and says they are coming to get the recipe to start making it for their friends and their friends start calling you for the recipe — that is when you know you might have something.

Before you decide to self-publish, start sharing your book with people around you — family, friends and business associates. Be sure you are convinced that you have something special, because it takes a lot of work to take your book outside your own circle. And I would start with agents, not publishers.

Once you have decided that self-publishing might be your route, what financial and artistic considerations should you keep in mind before you begin?

Make sure you have the funds to print, design and market the book. Above all, your book must not look like a self-published book. Ninety-nine percent of the time, readers, distributors and booksellers can pick out a self-published book. If your book does not look as good as a book published by Doubleday, which is who you are competing with, don’t bother.

How significant is book design in contributing to book sales in self-publishing?

There is a phrase called “nephew art.” This is where someone says, “I had a nephew who was a hippie van painter — I’ll let him design my book cover.” Sad to say, lots of time when you get a friend to do illustration, you kill yourself in the market. Friend illustrations are too often sappy and cheap and don’t compete on a level with national publishers.

When I decided to self-publish The Christmas Box, I decided on a very simple cover design with no illustrations. When Doubleday called, they told me mine was one of the most attractive self-published books they’d ever seen.

I’d suggest hiring an advertising agency or graphic design firm to do your book — it’s worth the money to make your book look like more than it is. If you put out $5,000 to print your book, it’s worth $1,000 to make it look right. It’s easily worth 10% to 20% of the printing cost to make the book look its best because if you make it look wrong you waste all of your money.

Once your book is designed and ready to market, what is the next step?

You have to have adequate distribution. Call the bookstores and ask which distributors they are working with. Distributors can make more money with your self-published book than with a national book coming down, so they are your sales force. Distributors are locally-based, so call the ones near you and ask a lot of questions.

How do distributing and marketing intersect?

If your book looks good, and you have the promotion and design, you will get more distribution. Back to the tuna casserole again. Say you walk into a store and want them to sell your tuna casserole. They’ll ask why they should sell yours when they have a deli there. You tell them it’s because you are doing a radio show and telling people to come to their store. You are making them money.

The only question in all marketing is “what’s in it for me?” You have to give them a reason to sell your book. A crucial aspect that I learned is that there are two sales that take place — one to the bookseller and one to the consumer. With The Christmas Box, consumers forced the booksellers to take the book in. It hit #2 on The New York Times best-seller list, but was only in 20% of the bookstores, so every bookseller in America was looking for The Christmas Box. When I went to the ABA show, booksellers told me, “You are the guy that ruined our Christmas.”

How important is self-promotion when self-publishing a book?

It matters ultimately. Someone has to care about your book, and if you are very lucky, you’ll have a publisher and a publicist who care a great deal. If you’re not willing to work for it, the publisher will usually back out and back down to your level… and you will limit what you have. At the ABA show during my first year with The Christmas Box, I sat next to young woman who also had a self-published book. While my book was doing very well, hers wasn’t selling at all. I thought her concept sounded good, so I was curious about her lack of sales As we talked she said she wouldn’t go on radio shows because she hated her voice, wouldn’t do newspaper interviews because she gets too nervous, and wouldn’t do book signings because she hates to speak in public. She was doing absolutely nothing and had an excuse for everything. I soon decided she didn’t want her book [to sell] that much.

What avenues of self-promotion did you find to be most effective and accessible?

Radio is the easiest and most accessible. In the beginning at least, it’s too difficult to get on TV. But there is always a little 1,000 watt radio station where you can call and asked to be interviewed. Now, when I go on tour, I do 20 cities and there is someone to meet me at every airport. But in the beginning, I did it in my own car, got a hotel room close to the airport, got a rental car and started driving. You can buy radio station guides, or find them at the library or on the Internet. I’d look for talk stations and ask to be on their show. I’d get up in the morning and do interviews. When I wasn’t touring, I did a lot of radio interviews by phone at my home.

When I first started, I was trying to get a local independent chain to sell my book. They were not real interested until I told them I had already ordered a billboard campaign. They were a lot more interested when they understood that I had put as much money behind promoting my book as I put into printing it.

In the beginning, I put $7,000 into the Utah market. I sold my book for $4.95 and put $1 into promotion for each book I sold. Initially, I hired a local publicist at between $1,000 and $1,500/month. It’s worth it if you have the money. It’s also important to realize just how big the United States is. You can drop $100,000 in marketing and not make a dent.

With the small window of opportunity that you have to be successful and get noticed, the best strategy is to be a big fish in a small pond. Focus your money on a local market. If The Christmas Box had been brought out nationally, it never would have sold among 80,000 other titles. In the first year, I concentrated on the Walden Books just in Utah. The other regions saw our sales record and realized The Christmas Box was not on their list, and they ordered it for the next year.

What advice would you give self-published authors about book tours?

Book tours can be tremendously valuable sales tools. If you are going out to sell your book as a self-published author, tell why you wrote the book, the effect it had on you and others, and give people reasons to buy the book.

I’m the first author I’ve ever seen hand out fliers at book signings. To help keep people from shying away from approaching an author sitting at a table, hand them a flier, tell them about the book, give little quotes or testimonials. But don’t plan to go to bask in great glory. Remember that this is not an ego trip. If you think it is, you will get eaten up emotionally. Always go on tour to work. A lot of authors drop out of touring. But remember, you have to pay the price if your book and the message you are sharing really matters to you.

What do you see as your most innovative promotional strategy?

A really defining moment happened at the Mountain Plains book show. I wanted to meet the booksellers, who were all out meeting the well-known authors who were brought in by the publishers. The booksellers would get their books autographed and then get back in line behind another established author. I could see that I was really missing the audience here.

It suddenly hit me that if I didn’t care about this book, who would? I noticed there was one empty seat at the end of the table where the big-name authors were sitting. I went and sat down in that chair with my books. One of the organizers saw me. I could tell by the look on her face that she intended to ask me to leave. When she came up to me, I looked up and asked, “Am I late?” A bit flustered, she asked, “May I get you some water?” I saw her the next year, after The Christmas Box became a best-seller with a $4.25 million advance from Simon & Schuster. She said I’d come quite a ways and I thanked her for not throwing me out. She asked, “What did it hurt?”

What was your greatest challenge in self-promoting your book?

Let me say that my failures were the best thing that could happen to me. If I’d gotten a publisher right off, I wouldn’t have the success I have now. Because I had to promote it myself, I learned how to become market-driven. I needed to be real honest about the dynamics. When I saw what happened locally, I knew that if I could duplicate that nationally, I could have the number one best-seller in history.

Along the way, I discovered it’s very difficult to get national media attention for fiction. Talk show hosts feel that fiction isn’t intriguing or relevant enough for them to sit down and talk about it. Eighty percent of the books featured on talk shows are nonfiction, where they can talk about relationships or dyads or near-death experiences. They feel that asking a fiction author to “tell me what your book is about,” doesn’t make a good interview. Luckily, I had a story behind my book (his mother losing a child to death) that made it interesting to the press.

When you become market-driven, you find out who likes your book and who your market is. I crossed paths with the author of a book called Twelve Golden Threads, about the lessons learned tying quilts. She was having meetings and book signings with quilting clubs. I thought her focus was a good move. Once you find the basic example of who is buying your book, that is the key to success on a larger scale.

When do you recommend beginning self-promotion efforts?

Start a year in advance to plan the best time to release your book. Author Dave Baldacci (Absolute Power, The Winner, Total Control) released his book this year in mid-December. The year before, he released a book on Jan. 1. Why Jan. 1? Because all the major guns are dropping their books in November and December. Michael Crichton came out with his book Feb. 1. Lots of books come out during Christmas, when all the sales are.

Why did you write The Christmas Box? Why should anyone write a book?

I wrote The Christmas Box because it mattered to me. In the beginning, publishing wasn’t a consideration. The book was written with all of my heart for my two daughters. If the only result was that they understood that their father loved them, that would have been enough. If my mother was the only one who read it and she knew that I understood her pain over losing a child, that would have been enough. The Christmas Box worked because it mattered to me. Write something because it matters.

Copyright © 2001 Carolyn Campbell
This article originally appeared in Inscriptions.

This article may not be reprinted without the author’s written permission.

Carolyn Campbell has published more than 600 articles in national magazines. Her articles have also been published internationally in China, Japan, Germany, England, Denmark and Australia. Campbell is the author of Together Again: True Stories Of Birth Parents and Adopted Children Reunited, Love Lost and Found: True Stories of Long Lost Loves Reunited At Last, and Reunited: True Stories of Long Lost Siblings Who Found Each Other. Campbell lives in Salt Lake City, Utah, with her husband and four children.

10 Ways to Make Money With a Book

10 Ways to Make Money With a Book

It is Jenn & Melanie again.  We want to share with you the top 10 ways to make money with your book!

Check out this quick video.

Here is a quick summary of the Top 10 ways!
1- Have a Lead Capture Page
2- Pre frame a meeting
3- Foot in the Door Strategy
4- Meet with a VIP or Celebrity
5- Get Speaking Gigs – Sell your book at the back of the room – On Stage Giveaway or Sale
6- Trade Shows & Events – Trade your book for a business card or drawing
7- Call to Action
8- Free Giveaway to a bigger product
9- Joint Ventures
10- Press Release & Media
BONUS – Charge More MONEY as an Expert in your field.

Learn More by reading the book BOOKS TO BUCKS
visit http://www.BooksToBucks.net


10 Reasons Why You Need to Write a Book

10 Reasons Why You Need to Write a Book

by Jeff Pinkerton – October 19, 2016

It really got my attention when I read the statistic that 81% of adult Americans, at one time or another, have a desire to write a book. That number seems extremely high, doesn’t it? But then I started reflecting on how many times I’ve heard someone say, “I should write a book on this or that”. My guess is, at some time or another, you’ve probably had a similar thought. Maybe as you are reading this that thought is crossing your mind?

As one who has been through the process, I urge you to take action on that little voice that keeps nudging you towards writing “that” book. Whether it’s a book built around a “how to”, a cookbook, a novel, a biography, on travel, etc., there is a reason you hear that little voice. To me, the sad part is we leave too many books in the “to be written” category in our minds.

I’ve found there are ten great reasons you need to write “that” book.

  1. 1. It can crystalize your thinking. Engaging in the writing process will cause you to crystalize and clarify your thoughts. I think you’ll be amazed at how fragmented thoughts in your mind can be crafted into a work of art.
  2. 2. It can establish your platform. The quickest way to establish your platform is to write a book. A book gives you instant credibility to share your stories, experiences, beliefs and philosophy.
  3. 3. It will help someone else. If your book will help one person, it’s worth the effort. It’s been my observation that helping one person leads to helping others.
  4. 4. It can expand your influence.  A book gives you the opportunity to expand your message far beyond the paths you walk every day.
  5. 5.It will hone your verbal skills.  Bringing clarity to your thoughts in a book will help you verbally communicate more effectively in all areas of your life.
  6. 6. It might have income potential. For most of us, writing a book won’t result in a lot of income, but who knows, until you test the waters? You may well pen the next best seller.
  7. 7. It’s a great resume addition. Adding that you authored a book to your resume often puts you in a class by yourself.
  8. 8. It’s not as hard or expensive as you think. We live in a time when book publishing couldn’t be easier. Self-publishing companies have created an easy and affordable way to publish your book.
  9. 9. You’ll learn a lot. You’ll be amazed at the knowledge and education you’ll gain through the book writing experience.
  10. 10. You’ll leave a message for those that follow. One of the greatest gifts, and maybe one of the most important that you can leave your family and those who follow you, is by memorializing your words and thoughts into a book. Words in a book will last far beyond your time on this earth.

I truly believe inside every one of us is a story to be told. If you feel that story needs to be told in a book, write it. What you may think of as only “common knowledge” will become “uncommon wisdom” when shared in a book.

As always, if I can help you in any way, let me know. – JeffPinkerton.com

Get Common Sense to Uncommon Wealth, 10 Simple Steps to Building Wealth

Melanie Johnson’s New Book – LIFE LEGACY CHALLENGE

Melanie Johnson’s New Book – LIFE LEGACY CHALLENGE


On August 27th, 2016 Melanie Johnson will be speaking at the TEDx
Conference in Houston.  We are honored for the opportunity and we are
excited to announce the launch of her new Book August 26th, 2016!

LIFE LEGACY CHALLENGE: Write a Book! Share Your Wisdom, Ideas and Stories to Profit Future Generations

If you were dying next week, what wisdom would you want to leave your children, family, the next generation and the world.
The largest generation is the baby boomers, 76 million strong. But a baby boomer dies every 50 seconds and all their knowledge wisdom expertise, information and inspiration goes with them, unless they do something about it.  Record your wisdom and create a sustainable knowledge library system, by writing a book.

You may be a baby boomer or you may not. Either way – you have a story to tell. You may say who am I to say I’m an expert, that I have a story worth telling. Everyone’s an expert at something. Everyone has a story worth telling. No matter what age you are. You don’t have to be a baby boomer to have valuable wisdom or expertise to share. This book is for all generations, who want to write a book to leave a legacy. What knowledge will you share with the next generation?
Life Legacy Challenge BOOK

The book is listed for just $.99 cents and go to Amazon and buy your copy TODAY.

Here is the link to the book.




What Does a Book Do For You?

What Does a Book Do For You?

1.) How much does a speaking platform/audience grow when you have a book? Compared to not having a book.

With a book the first thing you need to realize is that this question of “enough” will be different for everyone depending on the writer’s niche. If you’re writing about something specific—say, eclipse chasing—then your audience is quite a thin slice of a pie, and a smaller platform may be quite impressive in your very specific arena. Heck, you could have 2,500 Twitter followers and that may be enough to get you a small book deal with a university press. If you’re writing about something broad and popular, such as finance, your platform will have to be a lot larger if you hope to impress an agent.The size of your desired book deal also factors in. If you dream of getting paid $50,000 or $100,000 upfront for your book, then your platform must warrant such a large advance. If your goal is simply to get a book published—even if that means with a smaller press that pays little—then platform demands can drop, perhaps drastically.Naturally, when talking about anything subjective, we must acknowledge that there will be exceptions to the rule. I have no doubt somebody can stand up and say, “I didn’t even know what a platform was, but my book got published!” just as there will be someone who says, “My social media numbers are excellent, and I still can’t find a publisher!” What we discuss here are just guidelines; there are exceptions to every rule.




All that being said, let me share some very broad thoughts on what you should be aiming for. These numbers below are directed toward writers of nonfiction, where platform is crucial and mandatory. If you’re writing fiction (where platform is not necessary but still helpful), you can strive for statistics lower than the “Notable” thresholds below and still appear attractive to publishers.


Blog Page Views

Notable: 20,000/month

Very Notable: 100,000/month

Impressive By Any Means: 500,000/month


Twitter Followers

Notable: 5,000

Very Notable: 15,000

Impressive By Any Means: 50,000


Newsletter Subscribers

Notable: 5,000

Very Notable: 20,000

Impressive By Any Means: 100,000


Public Speaking Appearances

Notable: Speaking to 1,000 people (total) a year

Very Notable: Speaking to 3,000 people (total) a year

Impressive By Any Means: Speaking to 15,000 people (total) a year


Sales of Previous Self-Published Books

Notable: 2,000+ for fiction; 4,000+ for nonfiction

Very Notable: 6,000+ for fiction, 10,000+ for nonfiction

Impressive By Any Means: 15,000+ for fiction, 30,000+ for nonfiction


AGENTS CHIME IN: “When is a writer’s platform ready?”


“I think a lot of that is going to both depend on and determine what level of publisher your book is likely to appeal to. There’s no ‘critical mass’ of platform, and, in many cases, there’s going to be a natural plateauing of what you can achieve at this stage since platform feeds the book feeds the platform. Very large commercial publishers are hoping for, and can attract, writers with large national platforms like nationally syndicated columnists. You may be unable to achieve such an accomplishment before you want to submit your book, or your ideal publisher may not require such lofty extremes for your platform. What can you achieve? You may not have a regular column in a big magazine, but if you sell regularly to a number of large pubs, mention the readership of each in your proposal. Maybe you’re blogging for The Huffington Post … Keep in mind that you don’t sacrifice a timely story to continue to build platform and perhaps miss the most opportune window to submit the book. And don’t assume a long history is better than recent history. Publishers want to see recent platform, recent exposure.”

– Gina Panettieri (Talcott Notch Literary Services)

See more information from this web page: (writerunboxed.com)


– This article: How Co-Schedule Makes Scheduling My Social Media Shares Super Easy! Shares tips and tricks with Co-Scheduling stating “We all know that the key to building a speaking and writing ministry today is social media”.

See website here: (writingspeakingplatform.com)


– Grow Your Platform with Public Speaking: Resources, Tips and Advice to Get Started Today : (bufferapp.com)


-101 Quick Actions You Can Take Today to Build the Writer Platform of Your Dreams.

What does it really take to build a writer or author platform?



An intimate knowledge of vampires, wizardry or erotic romance?

Actually, the most important aspect to building an author platform is understanding that it’s about engagement; about connecting and interacting with people who are aligned with your message and affected by your story. Your platform is a web of intertwined beliefs, values, emotions, thoughts, stories, images and ideas that stem from your own core philosophy and are ultimately shared by your fans.

Web page: (yourwriterplatform.com)


-Why Having a Platform May be the Only Way to Sell Books-Not only do we live in a world where anyone can publish but we also live in a world where even if you can’t write a book (or don’t have time) you can hire someone to write it for you – and voila: suddenly you’re a published author. There is an inherent problem with this model which is this: in order to gain any kind of attention for your book, you’re going to have to have a platform.I see this on author calls all the time. I often get authors who come to me with books they’ve written or had ghosted and they have zero momentum online. Meaning little or no blogging, very little in social media, and in some cases, no website. Now, don’t get me wrong. There is nothing wrong with writing a book, having one ghost-written, or publishing a book if you’re a platform virgin. But you must realize that not having a platform will present you as a newbie, to a certain degree, even if you’ve been in your market for dozens of years.

Web page: (huffingtonpost.com)


-Why Building a Platform Is Key for an Author-Platform, in its simplest and most literal definition, is “a raised surface on which things or people can stand.” Think about it. If you have a physical platform and choose to stand on it, you are higher than the people around you. You can see the crowd around you, and they can see you. You are given a voice that travels far above the noise of the chatter below you. And if you stay on the platform for awhile and shout interesting and valuable things, the crowd around you will grow.


In the online world, a platform is just that. It’s a metaphorical raised surface from which you are seen and can speak clearly. It’s influence.


Platform can take shape in many different ways. It can look like any of the below:


Strong blog following

Robust social media network

Connections to influential friends

Vigorous speaking schedule

Long, engaged email list

The factors above are just a few examples, out of a much longer list, of ways that an author can develop a podium–literally or metaphorically–from which to speak. A platform is simply that: a way to get your voice heard.


Generally, one form of platform builds another. When the email list is strong and strategic, the blog following will grow too. Or, when connections to influencers get tighter and more authentic, the speaking schedule grows in width and depth. Platform grows platform, both online and offline.


So, you might ask, why is it important for an author?


In the old days–the pre-internet days–an author could write an awesome book, and the chances of that manuscript alone winning a publishing deal were fairly likely. But now, because of the internet, individual people hold the power to shout to the masses, so we expect proof of that “shouting” power in a book proposal. Publishers now want strong writing… but also proof that the author can sell that writing. Platform is that proof.

** Most publishers will only back strong writing with an author that can sell their writing. This makes having a book build a much larger platform.

Webpage: (chadwickcannon.com)


-Take Back Your Platform-To really understand how to create a useful platform for fiction writers, I think it’s important to talk about what a platform really is.Web page: (thewritepractice.com)


Everything I came across online tied platform building to writers who have a published book but it seems to be a catch 22. To get a publisher to publish a book you also have to create and build a large platform foundation to start off with.


2). When you have a book how much can you increase your rates to charge as a speaker?


– According to Forbes,a New York Times bestselling authors can command $40K and up per speech. Webpage: (forbes.com)


-How much should you charge? 15 tips on figuring out your speaking fee- (speakerhub.com) This article includes traveling expenses to keep in mind.


-Setting the proper speaking fee requires honestly assessing your value. If you have a history of helping people solve a problem, a reputation for being an expert, or a track record of attracting a lot of people to see you in-person, then you can probably request a substantial fee, such $5,000 – $15,000 depending on the type of event and audience size. However, if no one has ever heard of you and you’re still building your platform, you may have to shoot for a fee in the $500 – $2,500 range.

3.) How much more often are you asked to speak if you have a book?


-Speaking Engagements: Your First Gig as an Author.

  •  Start Local
  • Speak to Your Niche
  • Find a Natural Connection
  • Build Excitement
  • Hone Your Skills
  • Attend a Writer’s Workshop
  • Speak at an Industry Event
  • Aim Low (at First)
  • Practice Makes Perfect
  • Say YES!. See this article here: (self-publishingschool.com)


With a published book you will be asked to speak more than say someone who is a life coach or a mentor. You have a product that you promote and you try to promote it and yourself (platform) as much as possible. Some first speeches pay will be low until people see what you actually deliver and that is when the demand comes in for public speaking requests.


Many authors speak starting out free at local libraries while at the same time promoting their book. Word of mouth still works wonders even in this technological age we live in.


– This article explains in its title: How to Get More Speaking Gigs: Don’t Wait for Opportunities, Create Them. Here is the link: (huffingtonpost.com)


– If you read this article : Meet five top industry leaders you’ll hear from at WPC 2016 (which came up under top demanded industry speakers) you will see that all five of the speakers: Dean Martin, Carol Roth, J.B. Wood, Kim Garst, Matthias Schranner and Dona Sarkar- are all authors of either best sellers of novels, blogs, articles and even industry heavy specialized authored books. See this article here: (microsoft.com)


Authors are highly demanded as speakers especially if they have written about a specialized knowledge base that they plan on teaching others (think Dave Ramsey and all of his books, CDs and even merchandise he has expanded on).


4.) How much does being a best-selling author increase your revenue in the form of selling books and getting speaking events?


-The Economics of Writing a Book. First-hand knowledge of the process of publishing books, the costs associated and the whole experience.The Book Author’s Guide to Fame and Fortune.This particular author has some personal experience in the book industry. In 2012, I published a nonfiction book with one of the Big Five–the five largest publishers. It was a long, arduous, and intellectually rewarding journey. But my experience demonstrates how even a well-received and modestly successful book is no guarantee of financial success. See this article here: (priceonomics.com)


-Become a Motivational Speaker (Why All Authors Should). This article is written by the same person I linked earlier, the title explains the article in full. Web page is here: (self-publishingschool.com)


-How to Become A Bestselling Author? Website: (bookpromotionhub.com)


-Want to become a bestselling author in the next 90 days? (not a scam has some real statistics here for example: “There are over 11 million books on Amazon – 98% of them are barely seen”. Website is here: (rachelrofe.com)


-How much money does an author make from a best-selling book? 5 people answered this question on this thread, it is linked here: (quora.com)


-Your book is your speech, your speech is your book.


Write your book today.  Visit Elite Online Publishing for more information (EliteOnlinePublishing.com)

Or Take our Book Writing Fast Pass Course (BookWritingFastPass.com)

Beverly Kyer – What is Compassion Fatigue? | Elite Expert Insider Podcast

Beverly Kyer – What is Compassion Fatigue? | Elite Expert Insider Podcast

Beverly Kyer talks about Self Care and Compassion Fatigue on our podcast Elite Expert Insider.

Beverly Kyer
What is Compassion Fatigue? – a syndrome that mirrors PTSD.  ELITE EXPERT Insider  is a weekly podcast that educates, inspires and motivates entrepreneurs, innovators and growth seekers. Hosts Melanie Johnson and Jenn Foster, owners of Elite Online Publishing, will bring you conversations from business, personal development to health and fitness. They will chat with special guests, industry leaders, authors, business and marketing experts and just darn interesting people.  It’s the show that will up your game!

Beverly Kyer is an Author, Speaker and Restoration Specialist in the area of Compassion Fatigue, AKA Secondary and Vicarious Traumatization. She is a Professional Certified  Compassion Fatigue Specialist and  and whole-life restoration consultant. She travels the nation conducting seminars for major state and county agencies in law enforcement, health services, emergency response, education, etc… She uses her talents and expertise to train, develop and transform lives that suffer from the effects of compassion fatigue; giving guidance to all of her clients, encouraging them to move in a positive direction and face the challenges that may lie ahead of them.

To learn more about Beverly go to : http://www.beverlykyer.com/

Self Publishing – Why Choose Elite Online Publishing

Self Publishing – Why Choose Elite Online Publishing

Self Publishing – Why Choose Elite Online Publishing


With an exclusive Virtual online launch party using all aspect of technology and special algorithms…  with the goal to sell books and push your book to top-seller status.”

It’s a  strategy for getting maximum exposure for your book, and building an online marketing campaign that will continue selling your book long after its initial launch.


We have the Expertise, Experience and Know How behind all your book marketing. With our you everywhere now strategy: Get Your Message In Front of Your Target Prospects and in Every Pocket, Screen, Car and Television In The World. We are committed to serving you


Too many writers lose control of their work to publishers. As a result they never see their work advance beyond the initial print run, which results in a lost opportunity and revenue.

At Elite Online Publishing, you are in the driver’s seat to control all your content and keep all the rights to your book. You can make changes at any time, set the retail price and order books directly.

Business Innovators Radio Network

Business Innovators Radio Network


JENN FOSTER: Online Marketing Expert and Co-Host of Elite Insider Expert Podcast

Jenn Foster is one of today’s national leading online and mobile marketing experts, is the founder and CEO of Biz Social Boom, a company dedicated to helping business owners of all sizes thrive in today’s highly technical world of product and service promotion.  From local brick and mortar stores to online entities to large international corporations, Jenn’s years of experience and expertise has helped hundreds become front page news on all the major search engines.  She is dedicated to helping businesses use powerful new online and mobile marketing platforms to get visibility, traffic, leads, customers and raving fans.

A graduate of Utah State University, Jenn is an award winning web designer, author and sought after speaker.  She has been a featured speaker at such events as the Kim Flynn’s Internet Marketing Boot Camp, Utah Crowd Funding Association, and the Sandy Area Chamber of Commerce and the among others.  She was also an expert guest on Keith Shannon’s Expert Authority Podcast, The Teach Jim Show on Blog Talk Radio.

To Learn More:



Elite Expert Insider: http://jennfosterseo.net/elite-expert-insider-podcast/

Hot Chicks Write Hot Books: http://jennfosterseo.net/hot-chicks-podcast/

Increase Local Traffic: http://jennfosterseo.net/podcast/

About Tamara “Tami” Patzer

Tamara “Tami” Patzer is a No. 1 best selling author, publisher, and video producer at Blue Ocean Authority. She is a popular host at Business Innovator Radio and recently surpassed 100 interviews. She is also the creator o Creativity Sparks Journal, Spiritual Destination, Angel Talk Show and Clicks! Radio. She works with authors, influencers, innovators, and trendsetters who offer professionals services. Tami teaches Social Media and Marketing courses at Florida Gulf Coast University.

5 Tips to Hiring an Editor

5 Tips to Hiring an Editor

5 Tips for Hiring a Freelance Editor

by: Jacquelin Cangro

Freelance editors are not cut from the same cloth. Before you entrust your prose to just anyone, consider these tips for hiring a freelance editor:


TIP #1: Know the editor’s specialities. Not every editor can help you with any type of book. Editors may work in several genres, but most specialize. For example, I would not be a the right editor for you if you’re working on a script or with material for a highly technical textbook, but I love working with memoirs and novels. Also, some editors will happily review book proposals and query letters, while others won’t tackle these kinds of materials. An editor may be able to recommend a colleague to fit your needs.


TIP #2: Request a test edit. It can be expensive to hire a freelance editor. Before you do, it’s perfectly reasonable to ask for a 2-5 page test to get an idea of what you can expect in terms of notes and manuscript work.


TIP #3: Make sure the rates and terms are agreed upon before the work begins. Depending on the type of editing services you need, the rates are usually hourly for proofreading / content editing and standardized for query letters or book proposals. Once an experienced editor takes a look at your manuscript, she should be able to give you an estimate of how long it will take to complete the editing. This is just an estimate of course, but a good editor will communicate with you if she determines that it will take longer than expected. Most editors request that payments be made in two installments: the first 25% (or 50%) when you submit your work and the balance upon completion. If you need your pages returned in a hurry, an editor may be able to accommodate a quick turnaround for a extra rush fee.


TIP #4: Make sure you and your editor are on the same page (figuratively speaking). This tip is two-fold. First, understand what you need from an editor. Take some time to think about what kind of assistance would most benefit your manuscript. Is your grammar lackluster? Does the plot seem to falter around page 200? Are the character’s motivations feeling flat? Knowing where an editor should focus her energy can be especially helpful in addressing specific concerns. If you need a book proposal or synopsis review, it’s a good idea to find an editor who has written one herself (like me!) or who has experience in pitching them (such as a literary agent-turned-editor). Second, find an editor with whom you have a connection. This isn’t to say that you and your editor need to be best friends, but you are likely turning over work that is very precious to you. You’ve spent hours upon hours writing it, fretting over it, and tweaking it just so. You and your editor should be on the same team. That leads me to…


TIP #5: Be prepared for honesty. Even though you’re teammates, your editor’s job is to be truthful (and blunt when necessary) when it comes to your work. If it’s not ready for publication or an agent, she should tell you so. You’re paying for an honest evaluation of the work that needs to be done to make your manuscript the best it can be. That said, comments should never be mean-spirited. Also, keep in mind that it’s not your editor’s job to rewrite your pages. For example, if your editor suggests that the character of Sally is flat, she may provide suggestions on how to make Sally a more well-rounded character, but she won’t reinvent Sally for you. As the author, that’s your domain.


If you have questions or would like to inquire about hiring Jacquelin Cangro to edit your manuscript, please use the contact form here to get in touch.  Or call Elite 1(832) 572-5285 to get access to our Ghostwriters & Editors.