Anthony Puttee is a designer with a background in video games and television media. He entered the world of publishing after illustrating a young adult book series.
Through his experience he became a go-to-guy for dealing with all aspects publishing all kinds of books, from fiction, non-fiction, how-to, children’s book and more.
Anthony turned the obvious demand into a consulting business and has helped over 50 books get published.
I’ve just begun my own process to publish a book so it was natural to seek out Anthony for advice. As a result, during this interview I ask many questions that I am personally interested in as a budding author.
If you are interested publishing a book and how it can be used to make money, have a listen to this interview, you will learn a lot about the process.
What We Covered During The Interview
Here are some of the topics I asked Anthony to explain to us -
- What is the difference between the self publishing and traditional publishing paths, and why would you choose one over the other?
- How do you get the physical aspects of your book created, such as the book cover, typesetting and printing.
- How does print-on-demand work and why it is the preferred option for publishers.
- What printer and distributor Anthony recommends and why they are such a good solution for self publishing.
- How exactly do you get your book to appear in physical book shops around the world without doing a book tour.
- Where does Amazon and Kindle come into play and how important are they for your success.
- How exactly do people currently make money with books – is it from actual sales of the book or from other income streams.
- What would be the best path for someone like me, a blogger who teaches in a market, to get the most from releasing a book.
I’ve always had a somewhat romantic view of publishing your own book, probably because growing up I always thought books were a big deal and authors were really famous.
Of course there are some realities about what a book can do for you today that you need to be aware of before going down this path. Listen to this interview and you will be much better informed about your options.
I’d like to give a big thank you to Anthony for being so forthcoming with his knowledge. He really did share the tiny details that clarified a lot of my questions.
Enjoy the interview,
Where to Find Anthony Online
- Anthony’s LinkedIn Profile
- Anthony’s About.me page
- Anthony on Authonomy
- Anthony on Google+
- Book Cover Cafe
Hi, this is Yaro Starak and you’re about to hear a really special interview with a friend of mine named Anthony Puttee.
Anthony is a person who runs a support service for budding authors so, people who want to get their book published whether it’s fiction or non-fiction or how-to or any kind of book you’re looking to self-publish or even go down the traditional route, Anthony knows everything about publishing.
I’m actually about to start the process of getting a book ready for myself to publish and I naturally got in touch with Anthony to get some help and wow, did he have amazing amount of knowledge about the subject. Naturally, I invited him to come on to my podcast and share his story.
If you’re interested in getting your own book published and why it could be used as a fantastic tool for your business, in particular if you’re a blogger who wants to use a book and perhaps some of the content in your blog as part of the content of the book and how all that works together, this is definitely a podcast you want to listen to and obviously, keep track of my own progress which I’ll no doubt be writing about on EJ with the publishing of my book.
Now, before Anthony begins with this interview, I’d just like to tell you that my EJ Insider program is currently open and available for you to become a member of.
It is my Interviews club so, if you like this interview with Anthony, and you want more amazing interviews with million dollar bloggers and people who have made a lot of money as online entrepreneurs whether they built information publishing businesses or they do email marketing or they have software as a service business, you’re going to hear interviews with very successful people who do this sort of thing online inside the EJ Insider Program.
It’s a great course. I already had the first group of members begin the program and they are really giving me some amazing feedbacks. So, if you love interviews, you’ll love interviews from me, I’m the person who did all the interviews inside the EJ Insider Program and you want a huge back catalogue of all my previous interviews as well. It’s all inside the EJ Insider.
Just go to www.ejinsider.com/interviews and you will see all the interviews I have available there. I hope you enjoy the program. Here’s Anthony. Thanks for listening and I’ll talk to you soon.
YARO: Hello, this is Yaro Starak and welcome to an Entrepreneur’s Journey podcast. We have a really fun topic with my guest today. His name is Anthony Puttee. He’s actually a friend of mine from Brisbane. We’ve been friends for a long time. We actually met roller blading, part of a roller blading club.
I think Anthony you’re by far the only guest I could ever say that about. So, there’s a claim to fame already. But, the reason why I brought Anthony on board to talk on the podcast today is he has a tremendous amount of experience with book publishing and in particular, helping other people get published and it’s obviously a really interesting industry with all the transitions happening with Kindle and people becoming independent publishers rather than going the traditional route of doing big publishing firm and then, that old model falling apart.
We’re going to talk today about book publishing and why you want to do it and how people are doing it, and how people make money from publishing books and what Anthony does.
But, just a brief introduction to Anthony before we talk about that, when I met Anthony, he was actually doing design work for video games and he’s also done some design work for a TV that eventually led to illustrating some young adult books which he has been part of, which was like your gateway, wasn’t it Anthony, to book publishing because you got to experience what it’s like to have your own book published where you were the illustrator for it. That’s correct?
ANTHONY: That’s right, yes.
YARO: That then led to starting what you do currently which is bookcovercafe.com which is an all-in-one service for people who want to get published and you helped over 50 books get out there in all kinds of areas from kids to self-help to non-fiction, business and so forth.
I had been talking to Anthony just before we started this interview because I’m looking to get my own book published next year and I’m beginning the process now. He’s filling me in with a lot of information. I actually told him to shut up because we need to record this on the interview for you guys to hear, as well.
Anthony has a ton of knowledge in this area. If you’ve ever been interested in getting your published and why you want to do that and how it can help your business or make you become a published author or make money, this is the interview to listen to.
Anthony, thank you for coming on this call.
ANTHONY: Oh, thank you, Yaro for having me. It’s great to be here, great to chat.
YARO: A little bit of background first about yourself. Can you tell us, how did you get into the whole world of book publishing? Maybe break down a bit more than the introduction I gave you.
ANTHONY: Sure, sure yes. Well, like everyone, I started out working in a typical nine to five job. But, I was actually doing something else enjoying which was working in the entertainment industry.
I actually started out in television doing commercials and TV shows and doing a lot of corporate video, and before me of being into doing Next-Gen video game development which was PlayStation 3 and Xbox.
These were really big multi-million dollar budget titles. Over the course of probably it must have been about eight or nine years, I was working as a designer and an animator. I was working a little bit production development and also became very interested and really enjoyed the aspect of liaising with the marketing side of things.
While I was there, that friend of mine, Kev Webb, he’s been writing his books. He was looking to get published. Over the years while I was at the day job, I’ve been to Uni before working in the entertainment industry. I had done the school thing and the Uni thing like most people do. I knew Kev was writing this particular book. And, he’s a close friend of mine of many years.
He did some illustrations. So, I was happy to do some illustrations over that time because I did a lot of design and drawing. So, when the time came to actually publish his book, he had a meeting with a particular publisher and he wasn’t obviously, it was a very new territory for him.
I came in and lent some of my production experience on how to actually deal with publishers in a different sense but, you’re still dealing with those people that actually decide on what the part needs to be before it’s released in the market. That’s regardless if it’s a TV show or it’s a commercial or it’s a book. There’s a lot of similarities there.
My experience lent across very well. When the time came to actually go through the publishing process for Kev, it was about… I think it would be about six years ago, I think now it is, I started helping him publish with his publisher going through the contract agreement and whatnot and going through that process, he actually went through a subsidy publisher which is where you actually pay to get your book published.
This is not something I advocate today but, for him, it was something very knew and he thought it was the right thing for him to do. And so, this is where I really got my feet wet within the industry of publishing.
And so, I started helping him to go through that process. I learned what to do. I actually worked for the lot of the different professionals that were involved – cover designers, editors and working in liaison with the distributors.
And so, from there, that led me into researching and finding out a lot more ways about publishing your book and the pros and cons to trade publishing to self-publishing.
I learned a lot through that particular process of dealing with them and there’s a lot I did I liked and a lot I didn’t like. I can get to that a bit later.
From there, I started doing a lot more consulting with other authors based on all the experience that I had actually worked with Kev, working with others and from what I had actually been teaching myself. I continued to do a lot more liaison with other industry professionals in helping them, those actually focusing on the independent market and helping them with their clients by doing a lot of consulting.
This is still after ours from still being at the day job at the time. So, I was helping a lot of them navigate the publishing ocean, helping them actually avoid “unscrupulous,” I think the word I mean to say, these many publishers that charge over-inflated prices and helping them actually go about publishing their books in different ways.
Amazon was just coming into its own and there was other publishing businesses that were actually a little bit more legitimate and fair to the authors.
This was before the whole print on demand thing really sky-rocketed. We’ll get to that soon.
I was doing consulting for a few years after hours and on weekends from the day job and helping people that way.
Then, just a few years ago, it would be nearly three years ago, I sort of thought, I’ve got to reach out and do something more here. I need to reach more people, this one on one consulting is not enough and there’s a lot of people out there that are struggling with this on how to get their books to market, the best ways of doing it.
I thought I need to create something bigger than myself and so, that’s where I decided to create Book Cover Cafe. At that point, I had some money saved up in the bank and then decide to make the jump into creating my own business and transforming that consulting into doing a full-fledged business.
With that, essentially writers and authors can get to come to and trust that we’re going to put them on the right path to publishing. And, for the last few years, we’ve won a couple of awards for our services and the advice that we do.
Now, Book Cover Café is also essentially a service vendor, as you mentioned helping people go from Word Doc to the store shelf whether that would be online or offline. And so, that’s pretty much it in a nutshell.
YARO: Fantastic. I love that phrase, “from Word doc to store shelf,” because that is the journey for a writer to get published and there’s obviously a lot of steps in between that and a lot of questions that need to be answered which I’d love to do now.
But, Anthony, just a little brief stop though on your own entrepreneurial experience here. You quit your job to start Book Cover Café.
ANTHONY: Yes, that’s right.
YARO: You said you had some savings. Did you have a year worth of money that you could rely on or…?
ANTHONY: No, I think it was about eight months or so worth. It was short of a year.
YARO: Did you have any actual income from this business at that stage, just consulting income?
ANTHONY: It was just the consulting gigs at that point that I was trying to blow at. At that point, I was also, probably for the last 12 months, before leaving my job, I was actually doing a lot more cover design work, as well, as well as helping people to point them in the right direction, teaming them up with editors that were trustworthy and that kind of thing.
I wasn’t actually doing all of the services myself at that point, just covers and just doing the consulting. With about seven to eight months probably in the bank, and that’s what has hardly created the business and make it more of a full-fledged entity, if you like.
YARO: I can imagine doing covers as a fairly straightforward design type role which is what your background was so, that’s fantastic. And then, the consulting is where all the questions can come where like, “How do I get my book into Barnes and Noble? How do I get my book in Kindle? Who actually prints my book and how much do I make per book sale,” and all those sorts of questions would come up and you’re kind of answering them on a consulting per hour kind of basis.
ANTHONY: That’s it.
YARO: Is that pretty much it?
ANTHONY: That’s right.
YARO: How are people finding you, just word of mouth?
ANTHONY: Most of it was word of mouth because I didn’t have a whole lot of time to do any sort of marketing and it was all word of mouth through other people and colleagues because they just really enjoyed working with me and their experience was just a really positive one. They’d end up getting the results that they liked.
And so, of course, they told someone else that want to do something similar or thought it was a good idea and they put them on to me and I started to really see that just as a business owner of one like as a consultant or contractor, the biggest thing people wanted was someone to actually take an interest in them and care. And so, that’s what I did.
I value what their goals were. They just wanted to print out just a few books for the family then, doing this whole big publishing, creating your own publishing name and everything is going to probably be a bit of overkill for you. You’re better off sort of doing this or someone else willing to dominate the world.
Well, you know what? You want to go down this path and really providing a lot of the clarity there and getting to know quite a few of the different vendors around and other contractors who were able to do the editing and the type-setting and actually do the distribution stuff and point them in the right direction of other trusted people that I either come to know or that had done the right thing by other authors. And, also that’s basically what my consulting entitled.
YARO: Yes, and it sounds like a great way to learn about the marketplace, sort of have an open ending consulting service and then, yes, start to narrow it down, which leads me to a very obvious question.
What did most people want and what were they most struggling with like in terms of their gap of knowledge?
ANTHONY: Well, it’s probably a broad one. I would say it’s trying to close the gap of this big hole they have in their minds. I have a Word doc sitting here in front on my laptop here, how is it that that gets to the bookstore?
That was the single biggest question trying to do that. That’s where the Word doc to bookstore shelf came into work because I would go about just mapping out the steps that has to happen before then.
And, it was also, “When does the editing take place? Does it happen before or after the cover design? The typesetting?” That kind of thing. Back then, Kindle hadn’t exploded like it is today so, a lot of that was still majority was print and distribution was a big thing.
How do I get into stores and get into distribution? How many books do I need? Is there another alternative? That kind of thing. Yes, they were the big questions.
YARO: I’d love to answer some of these questions. Can you take us on a bit of a journey here? There’s two models, sounds like, well it is what you have told me for my own book.
There’s two models that I can pursue. There is the traditional book publishing route where I have a publishing company handle it and that, like you said, it was going to be a two-year process potentially. They’re not really in control of and then, the more self-publishing route where I have a lot more control.
I think most people are familiar nowadays that there’s those two paths where a big company takes you on. They might pay you in advance to write the book but, they’re going to take most of the sales that you only get cents in the dollar in terms of your share of the revenue.
Can you just tell us in a nutshell, not too long, the old model or the publishing model and what is still available in that model?
ANTHONY: Sure. So, you’ve got the traditional route… There’s self-publishing or traditional publishing. Now, before the age of eBooks and Amazon and crushing it on Kindle and print on demand, if you were to go that publishing your book yourself outside of the trade, you really have to go with offset printing where you would print a whole stack of copies and usually, you have to do it on some sort of volume in order to get a reasonable price on your print per copy to make it viable.
You would have to go about say printing at least say, 1000 or 2000 copies of the book. You’d have to pay for that upfront so, you’d have to allow for that capital and that’s on top of your book production cost like the copy editing and your cover design and whatnot.
And so, once you have those copies, you needed to make sure you had a distributor, a physical real world distributor that would have had a couple of reps, those who liaison with the bookstores and other retailers to actually order books. And so, you go on a catalogue, a distributor’s catalogue and there, they are able to make your books available to other stores and retailers.
Hopefully, if their distributor was that’s worth their results, they would actually talk about your book and pitch your book to retailers. And so, they needed a supply there of book stock that they could actually provide to as retail once they had actually decided to buy it from them.
That was the model that was probably the most common way of going about self-publishing before print on demand came along which has been a God send for independent publishers—publishers and authors, that is—because it was very expense heavy. There was a lot more risks upfront without really guaranteeing if your distributor did the wrong thing by you or they folded or they didn’t have their reps doing what they needed to do or they weren’t really holding up their bargain as a distributor needs to then, you’re stuck with all the books that you have to move.
The barrier to entry was a lot higher for people than what it is today.
YARO: Okay. Before you explain todays’ options, can we just tie this into the listener because everyone has heard that phrase unless you’re a J.K Rowling, you’re not going to make money selling print books and it’s ironic, I think about this a lot that, because I have sold digital products for a long time and never gone down traditional publishing or anything like that kind of path but, I can sell an eBook for $40 to $50 that’s all digital and keep all that money unless it’s affiliates where a person who goes and writes a much bigger book and gets it printed on actual paper book which means the cost of production is higher, can charge $20 for it which is less and then, they have to share a big chunk of it with the distributors and the bookstores and all that.
It always seemed to me like that old model is crazy and the positioning point is silly. Why would you want to get a book when you can just write smaller eBooks and charge more for them and have them digital and sell them yourself?
Obviously, there’s also the other point of view that people are well aware of is that, okay print books don’t make money but, they do build brands and they give you exposure and it’s a credibility being a published author which can spread itself over to your other businesses and help you to sell whatever else you do whether it’s consulting or speaking or something like that.
Can you tell us, how do you get rich with being a published author nowadays [laughs]?
ANTHONY: Well, you bring up a very good point. The thing with them, the print books and why you’d still do a print book is one, for credibility. If you already have a big online brand, you’re building up a great platform and you can have the choice of selling products directly and actually charging more for them.
What you don’t get there is the extra eyes and reach. You don’t get the extra reach out into the public for having new people just find and discover you and buy something from you opening their wallet for something that you have to offer.
And so, for print books, a lot of the money can be made on the back end because they serve as a lead generator. This is particularly relevant to bloggers and those non-fiction authors who are doing the speaking circuit or have a small or a medium business.
The print book prints been around for centuries and everyone knows where a print books is. You don’t have to sell anyone on the idea of that as an actual product in itself. They know how print book works. They know how they can digest it and consume it. They have an idea of its value as well.
I think that’s where a lot of your credibility starts is that if you have a print book, it has a higher perceived value than just some digital eBook or a PDF you read on your computer. It’s something tangible. It’s in their hands. They can take it with them. They can smell paper in this and inherit to have a higher perceived value that goes with the print book.
It’s still very much is the case today, as well even though we’re in a time of Amazon and Kindle and eBooks, having a print book its place and will continue to live on in the future, I believe because it has that different air of credibility about it.
YARO: … and the tangibility.
ANTHONY: Yes, and tangibility. That’s right.
YARO: The Kindle –
ANTHONY: I think it’s more on–
YARO: Sorry, keep going.
ANTHONY: – on a volume basis that you can actually make some money off your print books if you actually print and distribute economically.
YARO: We know that J.K. Rowling is the richest woman in the U.K. Is that because she sold so many books even though she only makes a dollar per book in royalties, if you sell 100M books then, she made $100M, is that pretty much how she got rich?
ANTHONY: J.K Rowling got rich because she started with print books and she started in the U.K. first. In the U.K., the book had to spend twelve to eighteen months and actually travel with school circuits in the school yards. It built up a lot of word of mouth there.
Of course, with just with Bloombury there in the U.K., she was published with them for a couple of years from [unclear]… That was before, I think it was Harper Collins from the US came and said, “Hey, we’d like to buy the rights to the US.”
That all happened over a period of years. That didn’t all happen overnight. What I also say to people is that, “Okay, you don’t want to emulate what J.K. Rowling has now because she started publishing twenty years ago. You need to be doing what J.K. Rowling would have to do if she started today.”
YARO: Which is…?
ANTHONY: If she was starting today, she wouldn’t need to reach out to [unclear]. Start building up a bit of a name for herself. And so, that’s where this term platform comes in for those authors who aren’t bloggers and in the blogosphere per se but, other authors that are perhaps coming offline into the online space, they want to build up a bit of platform. They want to start building their readership or their thousand true fans and they really want to start theirs, start just smaller, building up that tribe that know and just loves your work. This is whether you’re a fiction author or a non-fiction author.
It’s a low barrier to entry and it’s something that you can start right away even if your book is still eighteen months out from being ready, if you still plan to do one.
For any fiction author, that’s where I would recommend that they start. For fiction, it’s different to non-fiction. With non-fiction, it can serve as a lead generator. It can serve as a really great credible calling card for many different aspects of your professional platform.
For fiction authors, it doesn’t necessarily work the same way because it’s entertainment. It’s not a problem solving tool or product. People approach it as entertainment. It’s something they would like to do in their spare time that they actually have.
For readers, they go through books like you wouldn’t believe and for a fiction author, the money lies in having a back catalogue. It relies in having half a dozen books that are on the market because each book access a gateway to the next book.
If someone finds one of your books on actual store shelf, they really love it and it’s going to be more convenient for them at midnight when they have just finished your first book and they can’t wait to buy a second one so, they go online to Amazon and they buy it.
If they like the idea, they can actually stay and keep consuming your content. So, for fiction authors, the money is in the list and that’s the back list of books.
YARO: That’s interesting. So, the product funnel for a fiction author is the other books they’ve written where –
ANTHONY: Yes, very much. That’s right.
YARO: That’s interesting because like for me or another blogger/information marketer, we might have a series of products from audio CDs to live events and recorded webinars and all these different types of media that we essentially hope people will want to buy but, for an author, it’s just here’s the next chapter in the series I’d written.
ANTHONY: For a fiction author, yes. The non-fiction author is more like the Michael Port model way. It all centers around a book, Book Yourself Solid. But, he’s also got an online course and he got an audiobook and he’s got like a picture version of it. It’s all centered around, basically around the one book, not a volume of books and so, that’s how he is able to build a much bigger business around that book and that’s what he’s able to lead to.
That’s his choice. You can do that. You’ve got plenty of options. The point I have been going about to publishing the way I have is that gives you those options and it gives you the flexibility to support whatever goals that you have.
YARO: Let’s take me as an example. I’m not a fiction writer. I don’t want to focus on the fiction writing. Let’s focus on the non-fiction as a platform, as well.
ANTHONY: Okay, sure.
YARO: I’m going to write a book or I’ve got a book coming out and it’s obviously going to be about my area which is blogging ad it’s meant to be an exposure to a credibility tool and get more exposure for what I do and what I teach and bring people back to the products that I sell online, obviously.
But, what’s the possibility of me actually making a ton of money from the book itself?
ANTHONY: It’s going to happen on volume. And also, that you you’re your printing cost down and you keep your retail price high okay. So, a simple profit more or less.
Doing the old way of publishing, we needed a distributor, a wholesaler and then, the retailer. All these people are going to be taking a cut and by the time you actually get it, you got a couple of dollars to your name.
So, in order to become rich through selling books, you got to rely on a lot of volume to do that.
YARO: How many like what do we have to sell?
ANTHONY: Well, it depends on how much you obviously want to make. That could be a moving target.
YARO: How many books do I have to sell to make a million dollars?
ANTHONY: A million dollars? Well, if you’re selling your book for, if you’re making $2 for every $10 book you’re selling well, you’ll need 500,000 copies to make a million bucks.
YARO: That’s challenging [laughs]!
ANTHONY: It is.
YARO: So, it’s more likely like for the average human being, it’s a much more respectable goal to think, okay, let’s get this book as a gateway to publicity to get me on to TV shows, to get me on to radio, to get me into magazines and newspapers and on other websites online as well.
As well as getting me into Amazon so, there’s new distribution channels and then, in that book, I’m building my name.
I’m building my brand and obviously, I’m saying at some point in the book, I’ll have a reference back to my website, join my newsletter and then, they’re going to start getting all my other products.
That’s more likely, it’s just a nice big lead generation tool for my business.
ANTHONY: Oh yes because you’re getting reached into a whole new audience and where this audience are hanging out because a lot of people might not know Yaro and his Entrepreneur’s Journey blog.
But, they might be reading other blogs or they look in the text section of the newspaper or something like that. Through there, and seeing your book available, they’re going to discover you and that can happen on a much broader scale, of course, too.
And so, the print on demand online and the Amazon model allows you to start creating a funnel that can actually be more automated so, you are selling more copies on autopilot.
These things that you need to do, well, part of what we deal at Book Cover Café is helping authors make sure they set up and make sure their book Is available correctly so, they can actually then increase their chance of success and actually making residual sales from your books.
It might not necessarily is at that volume and becoming a millionaire just from your books itself. Fiction authors never become millionaires as I said, from one book. It’s going to be from the backlist in the catalogue.
What you can do with online retail including Amazon and Barnes and Noble is that providing your book, you get a decent ranking and you drive your sales there, something like Amazon which is why a lot of people focus on it is Amazon has its own internal algorithms. That’s along with reviews and selling books, you can rank up in your specified category.
Once you’ve actually got your book ranking goes up and up, it moves into the higher categories where you become more visible and more people can discover your answer and buy you just when they’re browsing catalogue, the different categories, or they can purchase buy on impulse.
You also get categorized with other books and you get on. Amazon has about half a dozen lists from top-rated best-selling recommended and the top 100. They’ve got quite a few lists.
Your book can move from one to another based on its performance. This all happens on auto-pilot. Rather than actually thinking on volume, you can actually think that it’s a great way just to have residual sales however many that is.
YARO: Okay. It’s funny to think about this because there’s a lot of other things that we can do to market ourselves and having a book, there’s a bit more magic to that but, I think because of the history of that kind of dream of being a published author.
YARO: And, the barriers have dropped to doing that so, there’s more published authors now, no doubt than there have been in the past. So, it’s so much easier to print on demand and so forth.
But, it’s kind of funny because the barriers are dropping, it sort of now needs to be thrown into the mix of all the other possible lead generation things we can do like just write a report or create a series of audios and release them through podcasts, these choices you can make.
But, it sounds to me and correct me if I’m wrong, if you are a person who is already publishing content, why wouldn’t you figure out what type of that content can be packaged up into a book and use that channel because it sounds like a lot of it happens automatically once the book is set up and we need to break down this process, I think we should do that next but, it sounds like a way my blog can potentially get picked up in search results and I can bring new people who just happen to be searching for something obscure that I have written about.
A book can appear in a book shelf somewhere in the world where I don’t know it’s been bought but, a book catalogue, my book in there and the person who is responsible for bringing in books to that bookshop said, “You know what, let’s try it on our shelves and see how it goes. It looks interesting.”
I can be selling in Timbuktu in Africa without even knowing it kind of thing which is cool.
ANTHONY: It is cool and that person might not have otherwise discovered you otherwise. That’s what I’m saying before, those hungry technophiles that are online for six to seven hours of the day, they have other channels that they actually discover and consume their content.
Book stores perhaps would be one of those. There’s few around but, if you can find a bookstore then, that’s probably going to be one channel for them, as well.
It really is about getting out to an audience that otherwise perhaps wouldn’t have discovered you.
There are those exceptions to the rule where you have Amazon. If you have a book on Amazon, because Amazon has an incredibly high page rank, it’s ridiculously huge authority in Google’s eyes, there’s a lot of people would actually have their book listings particularly with Kindle books, list them on Amazon and do some SEO and actually get their Amazon book rank to rank for a particular keyword in Google.
And so, if you are starting with a very new website, it’s not going to have much authority or page rank. So, your ability to come to in search results is probably going to take a lot more time than it would for an Amazon listing that already has the weight and authority to actually appear in the search results for a keyword.
A lot of people do that as well and so, Amazon already has that credibility. They go there. The sales page is already there. The fulfillment and the printing and the purchasing is already taken care of for you and you just wait for the dollars to drop in to your dashboard.
YARO: Yes, interesting. It sounds like your clients might be a representation of this, Anthony but, people come to you who haven’t got any platform online. They haven’t got a blog or a podcast or even a Facebook channel with many followers or friends that they think, you know, well I’ve got this book. Let’s publish it and that can mean my first step in the platform building process and they build out from there. It’s like the opposite direction from what I’m looking to do.
ANTHONY: Yes. Most men do because then, retailers and bookstores and places like Amazon online do allow the ability for people who don’t have any credibility or platform yet to reach out to readers that are browsing or shopping on these stores.
It does give them the ability to say, “Hey, I’m available on all these different places,” and being available on Amazon and in Barnes and Noble and being able to have your book appear in your local library and stuff, that starts giving you some credibility in the eyes of your readers.
You might not have been on this TV show or appeared in this particular paper yet or have a huge list of ten or twenty thousand people but, if your book is available in these different channels that just the average general Joe respects and considers this, hey, that’s a fairly big deal.
They probably think of it more on a subliminal level. Then, that’s going to lend you a bit of credibility, probably your first bit of credibility as you’re building your platform up. That can actually help people quite a bit and I know it certainly has helped quite a few of the fiction and children’s book authors that have made their way into schools and libraries and newspapers and events and even radio because they started with the credibility of the availability of their book.
YARO: Okay, well let’s bring this back to probably the more likely listener to this interview which is the blogger or the information marketer who wants to get the book out there to basically get more customers, get more leads into their funnel in wherever way say, reach the audiences.
I’m a good example because that’s what I want to do with my book and I have the credibility of being a published author.
To do that, I’ve already started the process of contacting Anthony here and I’ve also contacted a friend as a potential ghostwriter.
She’s not going to write the entire book, so to speak but, I’m giving her my content because I have already produced courses and blog articles and reports. I can bring together those things as well as interviews I have done and say, “This is what I want in the book. Can you weave it together?”
There’ll be a heavy editing process rather than ghost writing from scratch that this person will do. Then, I will have phase one of what Anthony calls, “from Word doc to store shelf.” I’ll have Word doc ready to go.
Can you take us forward Anthony with what happens next with Word doc?
ANTHONY: Okay, so once you’ve got your Word doc and you’ve got it into a structure subheadings and headings and whatnot whether you’re doing it or in this case, a ghostwriter then, that Word doc then needs to have, what’s known as your book production process. That’s where that begins.
The book production process includes your copy editing. It includes your book cover design, typesetting and if you’re adding eBook into the mix, it would be your eBook formatting as well.
And so, before the typesetting and the formatting can happen, you’ve got to get it to a copy editor.
You might have a structure in place. You’d have your sub-heads. You might have your table of contents and whatnot but, an editor needs to now go through and double check a lot of the punctuation, spelling errors, context, what sort of English you want it written in. That’s something that a lot of authors and writers don’t consider.
Do they want it in UK English? US English? Or, Australian English? And so, a good editor will help it consistent, whichever one that you want to use.
So, if it’s really going to be tied in to the US market, then go with the US English. Often, it’s perhaps a personal preference. For example, children’s book authors that are very much focused nationally perhaps will stick with the English that is native to that country that they’re dwelling. That is something to consider. An editor will help you do that.
The editor will also check any references, as well. They’ll help you with creating an index if you actually need one and they’ll help you with the actual ordering and logic and structure flow of your actual book and they’ll put things out there you as an author, you would never see because you’re just too close to your work.
The first thing that can happen is once you’ve got your Word doc completed, you probably go through some, the book would go into the editing process then, you can start with your cover design.
Your cover design is going to be your first point of your marketing. So, it’s oddly the most important part of your marketing because it’s used in all the marketing that you’ll be doing, both online and offline and it’s also the first impression that is made to Amazon and online.
Your cover is seen as a thumbnail on Amazon. It leaves that first impression. You got to have a really good cover and have a really good title, something that catches people’s attention.
The cover is your first point where you’ve got to look credible, look like it’s a professional job, look like that you’re worth taking notice of and that you didn’t just upload some sort of dodgy Kindle book to the Amazon store and you took no time to do it.
We’re not doing it. We’re creating a professional credible quality lead generator, quality product that we can comfortably and confidently approach to any PR publicists and newspapers, stores. They’re going to look at it and go, “Yes, this looks like a real deal. Let’s do business,” or, “We’re happy to hear from you.”
You’ve got to create a product that is worth talking about. I think Seth Godin lends us the idea of being remarkable. So, you got to create a product that’s remarkable, something that is going to get to be the cream that rises to the top.
Part of that is having a great message to start with which, as someone like yourself, you obviously do Yaro and then, you’d go into creating the product so, it also is packaging your message really professionally and they’re really of a high quality.
And so, your cover design starts. You go a bit of back and forth with your cover designer. We actually include your print, your eBook and your bonus promo enders that you can stick in your… or, your online marketing efforts as well.
Your cover design can probably take between a week or two and load it back and forth between the author and the cover designer. It’s a very hands on process, a much very collaborative process. Editing probably takes between about three to four weeks for that first draft edit and the editor works with you directly to fine tune the manuscript making sure it’s structurally and raised well from the reader’s point of view but, it’s also your message remains intact and it has a logical flow.
From there, you’re moving into typesetting which is the actual print layout of your book. That’s where your Words, your Word doc come and meet on an actual layout program where it’s formatted to a certain book size. This is where it’s important to decide what sort of size book that you want.
You might have a small 8″ x 5″ in book or you might have a traditional standard trade paperback book. For fiction authors, you might have a different decision to make between their sizes and non-fiction, the 6″ x 9″ trade sizes are very popular choice particularly for books between 200 and 300 words. It makes it a little bit easy to open up and read and yet, the spine still looks pretty thick so, it feels like a good thud book like you can drop it on a table. It feels like it’s very substantial.
So, that’s something that some people have to consider, as well.
Then, of course, eBook formatting where your print book is then converted into an eBook format, hoping to keep its layout and the integrity is close to the original reading experience as possible and it goes from there.
YARO: Okay, so that sounds like we now have the tools to actually get the book produced both digitally and physically.
ANTHONY: That’s right, yes.
So, there’s the one step where I don’t know if you want to go through this now, Yaro which is the way I advocate which is the print on demand and having your own little publishing name because there’s an extra step just in between those two things.
YARO: Okay, let’s talk about that but, there’s one quick question on book covers first.
ANTHONY: Okay, sure.
YARO: Because I see the cover kind of like the title on a blog post, the title on the blog post is more important than the content on the blog post in a lot of ways.
YARO: It’s that first impression. It’s the hook. It’s the angle. And, in the case with the cover, you got graphics and color. There’s a lot of things to it. Is there a science with book covers? Because I see book covers change over the years, too.
People, you know, you have the same book but, new covers.
ANTHONY: Yes, with different editions, they might have a separate cover.
YARO: Yes, and different covers for different countries and things like that. So, there’s obviously a really big science behind this. I’m sure these people just specialize in cover design especially in the big top books like J.K. Rowling’s publishers must go, “Which cover do we want for which country,” in that level of detail. Am I right with that?
ANTHONY: Sure. Yes, well J.K. Rowling is probably an exception because those publishers probably happen to spend anything they want on a brand that is so well known throughout the world.
I know they’re going through a re-branding process of updating the covers as we speak and you can see the different covers they’re doing for books 1, 2, and 3 in the Harry Potter series. They’re probably just giving a quick facelift for them. It’s not going to cost much considering it’s just a ridiculously big brand.
I’ll probably do that in the phase if they know that there’s going to be something bigger coming out. So, with fiction authors –
YARO: What about for me?
ANTHONY: Oh sorry?
YARO: What about for me though? If I wanted a cover because I know, I want to make sure it really works.
ANTHONY: You want to start on the title as you said. The example that you gave between a blog post title and a book cover is quite true. It is. It’s really spot on.
So, with a book cover, you want to be focusing on the title, as well. The title is just as important as it is for a blog post, as it is for a blog. You want something that is a blend between what conveys the message and the benefit to the reader and also something that’s intriguing and also represents the brand of the person who is publishing the book.
So, if you have a small medium business then, you might have something in the title that is representative of that without perhaps being too specific. There’s quite a lot of brainstorming back and forth with coming up with a really good title. You, of course, have a subtitle which allows you to get in a few more of the benefits on what readers can actually expect on the inside.
Different colors covey also different times. For example, blue is in a very authoritative yet a friendly color to use which is why our police and the boys in blue wear blue uniforms.
That’s an example of where color can be of an important use as well. You also may have your own branding, as well. If you have your own colors and if this is particularly a legion, then it’s nice to see how the book is visually tied with the rest of your platforms. So, it’s really actually tied together and becomes one.
There’s probably an element of trust transference that happens there as well. That’s important to consider. That can be factored in to the design as well.
YARO: That is probably a lot to talk about in terms of design and we could spend forever talking about that and especially with your background Anthony as a designer.
But, let’s move forward. You were going to talk about, okay so we’ve got the typesetting done and we’ve got the edited document done, we’ve got the digital version ready, the print version ready, how do we get it to the world and make sure a lot of people see it?
ANTHONY: Okay, these days, I recommend using the printing technology, print on demand. So, it’s probably something perhaps a few of you listeners have heard but, it’s essentially, rather than the old way of buying a whole bulk of, stock books upfront and then, trying to sell them, with print on demand, the book is actually created once there has been an actual purchase order have been made.
Once the purchase order has been made, that little runs at the back and says, “Hey, print the book. Bind the book. Glue the book. Package the book and send it off.” That’s print on demand.
The benefit is that there’s no actual stock on hand so, that, their warehousing fees out there which is what a lot of the wholesale and distributors would have to usually pay for and publishers too. That’s not required anymore and you don’t have to do pay and outlay that huge upfront cost that you would have to do five to ten years ago when self-publishing.
The print on demand model makes it much more efficient that way.
The next step is there are some printers that might be local to you like in our own hometown, our own country of Australia that actually do print on demand so, they’ll do digital printing and they’ll do it within a very short time frame. But, they are not actually distributors, as well. They’re just printers. They’re just digital printers.
What print on demand I recommend is actually going to those print on demand companies that are actually printing and distributing into one. There’s this companies that actually do both. They’re one and the same.
Because Ingram owns Lightning Source, it allows publishers to be able to plug in to their system to get an international book print availability. That’s the way that I recommend and help our clients set up, whether they’re an author that is done two or three books beforehand or whether or not they’re a new author, this is a great option and it really has been a blessing for independent authors these days especially when they’re just starting out, building their brand.
It’s just great for efficiency. The outlay and barrier to entry financially is far lower to a point where you’re really just paying for the book production itself. So, how we connect the book production which is what we just talked about to actually getting our book out there works like this.
Let’s just say we’re using Lightning Source since we want to get everywhere. We both want to be available in our own country, want to be available to perhaps to be ordered by stores and by libraries and online retails like Amazon and Barnes and Noble.
Lightning Source can actually facilitate all of that distribution for you. What we do is I recommend people actually create their own publishing name. For example, as an author who doesn’t have an actual business of their own, they can just create something as simple as a sole trader which allows them to be a legal trading entity.
They can be a sole trader. They can actually register a publishing name. They can just sign on a publishing name that they want. They can come up with a bit of a shortlist. There’s a few checks and balances you can do to make sure there’s no other publishers on trading under that same name.
Once you’ve actually met all those requirements and go, great this name is available, I’m going to go down to my registry shop at whichever country that your listings happen to be in. Obviously, I know Australia and I know something about the US but, it’s going to be different for anywhere you live, of course. But, basically speaking, you go and register your business name so that, you have it. I know here in Australia, it’s between $30 and $70 so, it’s really nothing. It’s incredible.
Once you do that and you have your business name, you want to then perhaps create a bank account for your business name so, you can keep it personal and your business publishing finance is separate. Then, what you want to buy is your ISBN. This is an important step to do obviously, before book production.
What I’m talking about now is just setting up an account for print on demand, print and distribution and this happens before the book production because you need your print final files ready to go before they can be printed. So, I’ll continue the story here.
You buy your ISBNs. Once you got your publishing name, you buy your ISBNs. They are your book identification numbers. They are essentially like your product numbers that your bar codes get derived from. Every book has an ISBN number associated to them.
When you are actually registered within the actual book system of the world, your particular book can be found based on this ISBN. So, librarians and retailers and all use the ISBN. It’s important to get one and it has you be the publisher on record, as well. You are the publisher.
Your ISBNs, in Australia, we can get a bulk of ten ISBNs which can do ten books, say for about eighty bucks. I think in the US, it’s about $250. But, we get off better in Australia for that.
Each book needs its own ISBN. We actually can just create free bar codes for you. You don’t need to actually buy bar codes from the ISBN office which is Bowker.
BowkerLINK is where you buy your ISBNs. You can go to the website. We can probably lay this in the show notes if you want to, Yaro. You can go there and you buy your ISBNs. You can do it in just a few minutes. You buy your ISBNs using your publishing name and each ISBN gets assigned to your book.
With your particular book, you have one ISBN for your print book. You’ll have a separate ISBN for your eBook because they are considered as two separate products.
Now, once you’ve actually bought your ISBNs, you’re now effectively a trading publisher now. Now that you’ve got your team who are going to have to do your book and put it together, you’ve got your publishing name, you’ve got your bank account and list down the necessary personal stuff that you need to do to set that up, it’s going to be different for everyone, and you bought your ISBNs, you’re now ready to set up your publishing account with Lightning Source.
This is an important distinction to make. Doing it this way, you are the publisher on paper as far as Lightning Source is concerned, you are the publisher. Lightning Source is just the printer and the distributor. They are not the publisher.
What you do is you’re creating an account with Lightning Source as a publisher, a new publisher account. It’s free to set up. That will take about a day or two to review your account details and once you’ve got all your account set up, you’re ready to go.
And so, at this point in time, your book production process is probably already been underway and at the end of your book production process, you’ll have two PDF files, one for your cover, one for your interior and you as a publisher now as a person can upload those two files to Lightning Source to your dashboard, do the necessary submission data and forms and stuff so, your book can go into the system.
You go through a review process. You order print proof just to make sure the color looks right and the spine is line and everything appears how you imagined it would and once you approve your proof, Lightning Source then takes your book file, your book data and then, spits that to all the thousands of retails all around the world.
YARO: And then, you exist. You have a book that can be bought.
ANTHONY: That’s right. That’s it. So, your book is to be bought. You probably got about, usually about a week to ten day turnaround for your book just to gradually get out into all the different retailers so, sometimes your cover will appear and your title appears and the rest of the data follows a day later.
It’s important to allow that time for it to properly get across the world.
YARO: Now, when you say it appears, it’s not on shelves. It’s just in catalogues where they can potentially order it.
ANTHONY: That’s right. It’s important to note that.
For online shelves, you’ll start just appearing on all the different shelves, hundreds of online bookstores, as well. As far as libraries go, you’ll be appearing on their databases so, there’s different library services here in Australia like James Bennett who are plugged into the Ingram catalogue. They can actually order your book in.
You will appear on their databases where they do all their ordering from. You want to be able to appear there and that’s what going through Lightning Source does or allows you to do. It allows you to get on those databases.
That goes the same for book retailers, as well. It doesn’t mean you’ll automatically pop up on the book shelf out at the front of the store on the new best-sellers table in a few weeks’ time. That’s an entirely different thing. But, you’ll be able to appear. So, when they go to the computer and see the different books are available whoever is for that store is actually doing the purchase orders, they can actually see that your book is available to bring in which is what you want. You need to be available first before people buy it.
YARO: So, obviously, all the online platforms will be able to stalk your book straightaway because there’s no cost to them. You can be in Amazon right away in both Kindle and physical ship version once you’re in Lightning Source because Ingram will handle all that.
ANTHONY: That’s right.
YARO: Okay, as you said, you said a lot of company’s names here and different things. I’ll definitely have to get you to send me all the URLs so, I can put them in the show notes so everyone knows exactly where to go for these things.
We almost reach the hour point here, Anthony and I know we could spend a stupid amount of time talking about how to actually get your book then, popular which is a marketing question but, you’ve covered the production question and filled the gaps between printing on demand, distribution and actually being available to people around the world. I think that hopefully is clear to everyone’s head.
In summary, for marketing, without going into the details, basically, you do like what everyone does to promote a business. You would start picking your channels whether that’s getting publicity, maybe you’re hiring a publicists or releasing press releases, trying to get yourself on TV or radio or in magazines and newspapers and also all the online marketing things you can do from everything to obviously writing a blog, doing a podcast, creating content for SEO purposes, as I say, it’s a huge subject online marketing but, all those things are what people do then to make their book popular.
Is the sort of plan with that strategy or maybe you can tell me what you tell your current clients, do you say, “Listen, what we want you to do is your book is now available for sale, let’s focus on the city you live in first and try and get it big there or the country you live in,” and then, do you tell them to go contact this publicist and start getting press coverage?
Is that what you normally tell people to do?
ANTHONY: Yes. If they’re looking at getting some bricks and mortar sales then, which is what I think you’re talking about more specifically here is, yes, like a non-fiction book, because you’d only be doing consignment thing. You want to make sure that your book is available for them to actually order. So, what you do is if you know you’re going to be doing a big publicity [spread], you can be doing that within your hometown first.
Doing that, you want to make sure that your bookstores all have your books in stock. You’re doing a press coverage. You’re doing a lot of marketing. There’s a lot of press coverage that is coming and marketing whatnot and you can hear locally perhaps in your own town and you can contact those few bookstores that you have in your hometown and let them know that all these is happening and that they should have a few copies of your book.
It’s important that –
YARO: When you say contact, you mean just walk up to the book shelf and say, “Check out my book?” Is that what you…?
ANTHONY: No, you can actually contact the people who actually order the book. Just email them and call them.
ANTHONY: Yes. And, you can just do that. You can have a list of the different book source that might have to say about twelve. It depends how many they are because stores are closing all around us. You might have to say about twelve and you might just take an hour every morning and just call them all up just let them know, “Hey, how are you doing? Press coverage in this particular town. Make sure you have a few books this in.” You might have a bit of a pitch about yourself on who you are and what it is that you do.
Authors have found a great success with that and your hometown is a great place to start because they love local authors and they love local authors. They look credible, have a great message and they’ll support them.
If your press coverage works great, you get people into the stores because that’s the important thing. You need to get people into those stores. So, the book sellers in the bookstores go, “Oh, so people, oh this is something that’s out there into the public and people are talking about and people are actually coming in to buy it. Well, look at that! We just sold two or three of those copies of that particular book. Well, let’s get some more of those in.”
Okay, and so if you sell those, that’s how your book can remain in the store and selling. What you can do is that once you have essentially dominated your hometown if you like, you can move to different towns and eventually nationwide in your country doing that.
This is something that a traditional publisher would normally do. They have set reps, sales reps that go into these different stores or get them on the phone and email them these days and say, we have a huge catalogue. We just want you to look at these few books and blah, blah. We have a new author who is doing a book tour sale. This is his book. You make sure you have so many in stock and they would have their own arrangement. But, that’s essentially how it works.
They would do the same nationwide if they know there’s going to be a huge press coverage. And so, that press coverage or whatever, online coverage is to drive people, get it out in the face of the public and drive those people back to the stores.
The thing is, even if you’re a traditional published author or if you’re an independent published author, you suffer the same weight which is bookstores are limited by shelf space and includes these traditionally published books.
If they don’t sell within say, the first five weeks or so, and they don’t sell at all, they’re yanked. They’re gone. So, if you’re a traditionally published author, your book is now being sold via online if it’s not being stocked in every single store, and you have to wait until your rights and your contract ends before you can then take control and try and do something else with it.
This is something that a lot of the traditional publishers and distributors they don’t actually tell you is they don’t want to tell you this because they want to have your book as another product to their bottom line that they can potentially sell when they feel like it.
So, you do face that same challenge and a lot of people say, “It would be great to have a book on that front store shelf, just on the front where all the rest are going to see.” But, that’s paid real estate.
Publishers pay thousands of dollars to have books on for a couple of weeks on particular shelves on the store. It’s real estate. There’s politics involved.
And so, obviously, the independent publisher doesn’t have that sort of money or that sort of brand credibility just yet to do that. But, simply having your book available or released for them to be able to order is your first step and then, make sure if they’re going to stock your book, that you do the press coverage you say you’re going to do and not just sort of bail out because once they have sold those books, they’re not going to want to hear from you again so, you still have to hold your end of the bargain and go ahead and actually make sure it [unclear] and trying to push all those people to those stores.
They’ll be happy to order your books again. And, if you’re available in the system then, they can just order your books through Lightning Source. Lightning Source takes care of the fulfillment for you and before they actually drop your funds every month into your dashboard, they will just deduct the print price. You don’t even have to do that.
It’s all done on order product for you which is a beautiful thing.
YARO: It sounds to be that Lightning Source is a key in a lot of this and like you said, book stores are closing. If anything maybe, we shouldn’t be telling people to spend too much time on book stops going forward for the future and online marketing is the best plan for a self-published author not to ignore book shops because I think there will always be a place for them and maybe just the biggest ones will survive and a few unique niche ones in neighborhoods but, really it sounds like the best way to do is draw as much attention as you can and then, that will drive word of mouth which will then push the book shops to carry, as well.
It’s like, “Get yourself interviewed on as many…” like with Tim Ferriss launch plan, lots of podcasts interviewing you, lots of coverage on all the websites so, everyone is talking about you at once so, doing a launch formula like a Jeff Walker thing but, for a book.
ANTHONY: For a book, that’s right. And, he goes, he does the saturation thing. So, he’s in everywhere he can possibly be within say, a two-week time frame. So, everywhere you go, it’s like, “Oh my God! There he is again. There he is again.”
“Okay, look I have to check this book out.” It’s usually those few times that are for those people that aren’t his greatest fans that they see his message hidden somewhere wherever they are online or offline and then, finally sort of motivated enough and go check out and see what “all the fuss is about” simply because he’s everywhere.
Big publishers do the same thing. They have a huge saturation push upfront and if it doesn’t work out for them then, there’s thousands and thousands of books every year that doesn’t work out for them.
They do that huge push and that’s why the books are pulled off and made way for another new book. And so, if that is going to happen regardless, wouldn’t you want to actually be in control so you can take the next step or do your focusing online and whatnot rather than having your book stack in contract for another couple of years?
The way things move these days and as we go into the future, things are changing so quickly, you need to be able to nimble.
YARO: It sounds to me that obviously, self-publishing resonates with me and being in charge of the whole process like you have been talking about but, the way I see this, I’ve always had a free report available as a blogger to build my newsletter, the Blog Profits Blueprint, a book which even could be a book version of the Blog Profits Blueprint with bigger and more in it, could be my kind of lead resource for other places, book shops in the physical world –
YARO: – Kindle, Amazon, and also even in real life, I could say, “Go buy my book,” which people everywhere understands or not everyone understands, ‘Go opt in to my newsletter to download my free report.”
ANTHONY: That’s right.
YARO: That’s good for website but, maybe not so good for new people.
ANTHONY: That’s right. There’s a lot of people that buy from the book depositories because they enjoy their free shipping. Lots of people buy from Booktopia which is one of Australia’s biggest online retailers.”
If you’re through the Ingram printed with Lightning Source with an account with them, you’ll appear on those stores too. So, anyone that you talk to, you’ll say, “You can go and buy my book.”
“Oh great! Is it available from here and it’s not Amazon,” which everyone online knows about then, you can say, “Yes, no problem. Just go and buy it,” and they can do that. Your window to having to be accessible to all the other different people that don’t spend a little time online is greatly increased that way.
Your ability to be discovered is just dramatically increased.
YARO: Yes, it sounds like in my marketing brain, it’s another good marketing tool that happens to tag a really good credibility tool which – actually, there’s probably not much more you can do for the credibility in terms of a big boost then publishing a book, getting on stage in front of a lot of people. It does it too but, the book can go around by itself without you needing to be there.
Okay Anthony, we’ve been talking about this for a while. I do want to be aware of the time here. Now, all of these things we talked about, you have services around this and I know you’re also launching a training program at some point for people who want to do it themselves and go into more detail for each of these different things.
Is it safe just to say to go to Bookcovercafé.com?
ANTHONY: That’s right. That’s where you can find us. That’s our hub for where we’re helping authors get out into the global marketplace with a book they can be proud that actually sells and builds their brand.
We have all the different services there. You can contact me one on one as well through the contact form. You will be able to reach me as well.
YARO: And, everything we talked about, you either consult or provide for people or can teach people how to do it from production distribution, editing and all that marketing stuff we’ve been touching it.
ANTHONY: That’s right. We help them with all that as much or as little handholding as they would like, as well. I blog there, too.
YARO: Well, I think you can tell, the listener, that Anthony knows a lot about this subject because he sounds like he’s done a lot of… having published 50 books with four other people will give you a lot of insight in going through the process yourself as an illustrator of your book.
So, there’s a lot to know in this process but, I think it sounds like it’s worth going through like being a published author can really help you. So, Anthony, thank you for sharing your experiences with us.
BookCoverCafe.com, remember everyone again to check out Anthony and I look forward to working with you on my own book and maybe twelve months’ time, depending on when you downloaded this podcast, my book will be out there. It will be interesting to go through the process myself.
ANTHONY: Excellent, yes. Thanks Yaro!
YARO: Thanks Anthony! Talk to you soon.
YARO: For everyone listening in you know where to go for more podcasts like this. You can go to Entrepreneurs-Journey.com or Google my name which is Yaro and hit the podcasts tab on my site where you’ll find lots more to download.
And, of course, please do subscribe through iTunes and leave a review if you’re listening in through that channel as well. Thanks guys! Talk to you soon, bye!
One more reminder guys, if you are interested in taking part in my EJ Insider Interviews Club, membership is now open. We got a great bew series of interviews that’s currently going to members only inside that club as well as you get access to my entire back catalogue of all my interviews I’ve ever published including some private coaching interviews that were only released in my paid coaching programs.
You also get action plans which were handwritten by me that help you to execute the leverage points that you learned from the new exclusive interviews you get each month.
So, it really is a concentrated and focused coaching style interviews club. You’re going to get inspiration and you’re going to get real techniques to apply to your online blogging or information marketing business.
Go to www.ejinsider.com/interviews and you can learn all about the EJ Insider program and sign up. My name is Yaro Starak and I’ll talk to you again soon. Bye!