Buy a Trumpet and Blow Your Own Horn! Turning Books Into Bucks

By Maralys Wills

You've published your book. Now what?

New authors are faced with this question, and stacks of books in basements everywhere. But what to do once they have given one to every member of their families?

So many new authors believe their books will “sell themselves.” Whether they self-published or have a publisher, getting book buzz, and finding an audience for their book, is largely the author’s job. What’s the secret? Maralys Wills shares how she, and other authors do just that in Buy a Trumpet and Blow Your Own Horn!

With so many authors self-publishing, this book is needed like never before. Turn those books into bucks ... instead of dust collectors.

• Language: English
• Publisher: Maralys Wills
• Release date: Aug 15, 2013
• ISBN: 9780985942632

Maralys Wills

Maralys Wills is the author of 14 books, scattered like birdseed over six different genres. But she can never say which work she likes best. "It's always the last one I wrote."However, she freely admits that a highlight of her writing career was the critique she received from author Sidney Sheldon. In one of his last letters, he wrote of her writing book, "Damn the Rejections, Full Speed Ahead:" "Maralys Wills, genre-hopper exraordinaire, will make you laugh and cry and laugh again in this gripping, how-to handbook for writers everywhere. She is clearly a force to be reckoned with."Among Maralys' three memoirs is the recently re-published "Higher Than Eagles," which gathered five movie options (including from Disney),a review in the Los Angeles Times, (reprinted in 56 newspapers), and a visit from the newsmagazine 20/20. "Eagles" is once more in the hands of a Hollywood producer.

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Praise for Maralys Wills

Damn the Rejections is the antidote to the I’ll never be published blues. Read liberally and often. Overdose impossible.

—Paula Berinstein, Producer and Host

The Writing Show

As I read, each sentence compelled me to read the next, and before long I was completely lost in your wonderful book.

—Sidney Sheldon, Author

The Other Side of Midnight, Master of the Game, Rage of Angels and The Sands of Time

I read Damn the Rejections in one sitting—not unusual if this were a novel, but it isn’t. It’s an instructional book on the art of writing. Rather than a dry treatise covering rules and regulations, it is a series of signposts to steer a would-be author through that deceptively simple minefield called creative writing. The book vibrates with the life and humor of a good memoir and, indeed, it is both a funny story and an excellent guide for storytellers.

—E. Ervin Tibbs, Author

Sunset Tomorrow

No exaggeration: Because of Maralys Wills and Damn the Rejections, Full Speed Ahead, I’ve stopped saying I can’t about writing, getting published, and a lot more. Maralys and her book have, truly now, changed my life.

—Stephanie Edwards, Emmy-Winning Television/Radio Commentator

Solid, practical, realistic advice, packed with useful information and examples. Her informal style is inspiring, entertaining, and motivating.

—Marylin Hudson, Orange Coast Magazine

Who would believe a how-to book that’s a page turner? Maralys Wills pulls it off with a compelling narrative arc that propels a wealth of do-able info for the reader-writer. Building the romantic scene, developing characters, writing the query letter, marketing and more—it’s all here in wisdom gleaned from years of writing triumph, and, most important, failure.

It’s a realistic book, an honest book that allows readers to learn from each step and misstep, each revision, rejection—and advance check. Best of all, it’s an attitude of warmth and encouragement to every writer, from novice to professional.

—Beverly Bush Smith, Author

Wings of a Dove, Evidence of Things Unseen and Caught in the Middle

Reading just a few lines of Maralys Will’s sparkling prose is enough to prove why she is the perfect person to advise others on the principles of writing. However, being unable to stop with those few lines you will be rewarded with a book that entertains while it educates. Having written memoir, thrillers, romance, and how-tos, she covers the gamut of genres and styles. Learning a craft has never been so much fun.

—Jan Murra, Author

Castoff

Many authors have written wonderful guides about how to write—Ayn Rand and E. M. Forster come to mind—others have written books about how the publication process works—James A. Michener—and others have tried to separate life and writing into two parts of one book—Stephen King’s On Writing. All these books have value as a guide to writers, but none of them have so perfectly blended writing and publishing advice with autobiography.

—Tyler R. Tichelaar

Reader Views

Maralys Wills gives you the gift of her experience. She will teach you and inspire you and give you the tools you need to survive the sometimes rough world of publishing.

— Maureen Child, Author

88 books

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Copyright 2012 Maralys Wills

All Rights Reserved

Smashwords Edition

No portion of this book may be reproduced in any form or by any means without permission in writing from the publisher, except for the inclusion of brief quotations in a review.

Editor: Carolyn Hayes Uber

Copy Editor: Jami Carpenter

Designer: Sue Campbell

ISBN: 9781935043980 (print book)

ISBN: 9780985942632 (eBook)

Lemon Lane Press

1811 Beverly Glen Dr.

Santa Ana, California 92705

Contact the author: [e-mail]

Also by Maralys Wills

Damn the Rejections, Full Speed Ahead:

The Bumpy Road to Getting Published

A Circus without Elephants: A Memoir

A Clown in the Trunk: A Memoir

A Match for Always

Fun Games for Great Parties

Higher Than Eagles: The Tragedy and Triumph of an American Family

Manbirds: Hang Gliders & Hang Gliding

Mountain Spell

Save My Son

Scatterpath

Soar and Surrender

Tempest & Tenderness

Dedicated to my editor, Carolyn Hayes Uber,

who made all the difference in bringing this book to life.

Lucky is the author who gets the kind of help Carolyn offers.

Contents

Acknowledgments

A Word to the Reader

Chapter 1. Switching Hats: from Scribe to Schill

Chapter 2. Replacing Editors with Bean Counters

Chapter 3. Who Helped Turn Us Into Hucksters?

Chapter 4. The Author’s Platform

Chapter 5. The Author’s Marketing Plan

Chapter 6. Speechifying: For Fun and Sometimes Profit

Chapter 7. Bookstores: Purveyors of Coffee, Cheesecake—and Sometimes Books (Or How to Make Barnes &

Chapter 8. The Art of Giving Speeches

Chapter 9. Arranging Speeches: The Water-Dripping-on-Rock Approach

Chapter 10. Finding More Groups Means Landing More Speeches

Chapter 11. Book Publicists: What Did You Expect?

Chapter 12. Duck and Beware

Chapter 13. Gimmicks You Know But Forget To Use

Chapter 14. The Ultimate Networking

Chapter 15. The Siren Call Of Free

Chapter 16. The Internet: Magic or Mincemeat?

Chapter 17. A First Look at Other Authors

Chapter 18. The Quintessential Marketer: Darlene Quinn

Chapter 19. Paddling Up the Amazon: Brian Rouff

Chapter 20. Famous Writers: How Did They Do It?

Chapter 21. Facebook Frenzy: Wendy Mazaros

Chapter 22. A Second Queen of Marketing: Devin O’Branagan

Chapter 23. Grassroots Marketing: Trish Geran

Chapter 24. Up in Smoke: Stu Michaels

Chapter 25. A Picture’s Worth a Thousand Words: Ann and Farley Olander

Chapter 26. What Happens in Vegas: Geoff Schumacher

Chapter 27. Captain ‘Hook’: Stephen Grogan

Chapter 28. All A-Twitter: Morgan St. James

Chapter 29. A Life Beyond Belief: Stephen Nasser

Chapter 30. Ode to Organization: Lewis Kimberly

Chapter 31. The Little Coffee Shop Around the Corner: Deb Coonts

Chapter 32. Three Seconds to Sell a Book: Rocky Fino

Chapter 33. A Publisher’s Perspective by Carolyn Hayes Uber

Chapter 34. The Miracle of Taking Chances

Chapter 35. What Have We Learned?

Notes For Reader Discussions

Self Analysis

Bonus Chapters of Damn the Rejections: Chapter One. Ten thousand Rejections

Chapter Two. Critique Groups (and Other Ways to Save Time)

About the Author

Copyright

Acknowledgments

At the top of the list, I wish to thank my editor, Carolyn Uber. Better than anyone, she understands the importance of intelligent and creative marketing of books—that this is not the same book universe we once knew, and that old methods simply no longer work. Only with her help was I able to add the experiences of a host of authors who used marketing methods different from my own.

The intelligent listening, keen suggestions, and creative ideas from my critique group have been invaluable. What would I have done without Barbara French, Allene Symons, Pam Tallman, P.J. Penman, Walt Golden, Erv Tibbs, and Terry Black?

Last, but certainly not least, I wish to thank my husband, Rob, who gave me some unique book titles, including this one, plus the kind of perceptive fine-tuning that proves to be vital. He also offered me free time, a sympathetic ear, and the meals out that any author needs if she’s trying to write a book. Just having him standing by means everything.

A Word to the Reader

One of my author friends has been called The Queen of Marketing. With good reason. She appears so often on Facebook she’s become the Internet equivalent of Lady Gaga. But she’s also my former student, determined to raise my Internet creds.

One day she called to needle me. Why are you writing this book? she asked with a laugh. You’re lousy at marketing.

I knew what she was thinking—that right from the beginning I’ve had a rocky relationship with Facebook, that one way or another, my goofs outnumber my posts.

However, she doesn’t see the rest of what I do.

Of course, she added quickly, you’re a terrific teacher and writer.

Thanks, I said. But over the years I’ve actually sold quite a few books. So I think I’ll go ahead and finish this one.

Afterward I realized while I can’t claim to be a millionaire telling others how to become millionaires, I do know a great deal about marketing.

Mainly what I know is a few things work exceptionally well and a whole lot of others don’t work at all. And trust me, on this score I’m an expert. I’ve personally tried almost everything.

My plan for this book is to take you, the reader, on a marketing trip, traveling down diverse roads you may have thought about but never explored. However, since I’ve been there, I can save you hours of time and lots of gas.

Like everyone, I want to know how other writers handle marketing. As a form of networking, I’ll share interviews with other authors who’ve examined and tested ideas that worked well for them. These will be illuminating for you—but also for me.

This book will be nothing if not honest.

And now here’s a caution that ought to be in red ink, a principle I’m mentioning now in the beginning and will reiterate at the end. It’s the most important point anyone can make about marketing: first, you have to write a very good book

One extra thought: The inside flap of this book includes my email address—for the reason that I welcome hearing from you, the reader. I’m always happy to learn something new or answer questions or schedule speeches.

If we eventually meet in person, so much the better!

Chapter 1.

Switching Hats: from Scribe to Shill

If you’ve ever landed a jet in the Hudson River, given birth to eight babies in one sitting, or slept with the governor of New York, you don’t need this book.

Likewise, if your name ends in Clancy, Grisham, Rowling, or Sparks, this volume will serve no useful purpose. You already have what every author needs—instant name recognition in every household where people buy books.

For all you bestsellers the publishing world is seemingly unchanged: writing is still wondrously synonymous with selling. Whatever hurdles you once leaped over, you’ve arrived at an author’s utopia, free to be a creator and not a huckster.

Which, unfortunately, is not true for the rest of us.

FOR ME, in fact all the authors I know personally, writing the book is only a first step. We have to sell it, too. Which requires a startling change of personality—from introspective, mind-searching, purveyor of words and ideas to opportunistic stalker of agents and editors—and finally, readers.

Where euphoria once came from nudging small thoughts into great ideas ... from writing prose that resonates like music ... happiness now depends on somebody’s willingness to write a check.

As a newly-minted huckster you’re forced to put aside, often for months or years, the best parts of your writing life. Gone are those moments when you feel truly alive, as though you were born to do exactly what you’re doing at this moment—creating something that will last longer than you do.

No more can you fall back on your softer writer’s persona with all its nuances. Oh, no. You are now compelled to acquire the skin of a rhinoceros and the ego of a Donald Trump.

THE TRUTH IS, YOU HAVE TO SELL YOUR WORK TWICE—first to an editor and then to the public. (Overlooking, for the moment, self-publishing.)

One sales job is as challenging as the other. And the person who must do all this formidable selling doesn’t resemble you, the sensitive, observing writer. You might as well think of yourself as a door-to-door salesman peddling encyclopedias, because that’s what you’ve become—a shameless pitchman, ever on the alert for an opening—for someplace, any place, to wedge your foot. And the strangest wrinkle of all is you wrote the encyclopedia.

Because selling isn’t our bag, we writers need all the marketing help we can get. And that especially includes me.

After twelve published books, all placed, eventually, with excellent publishers, and after years of maniacal attempts to sell to readers what the publisher has published, I’ve finally figured out some stratagems that work.

You will be surprised at how many things DON’T work. And that goes for numerous publicity efforts that cost a lot of money, take endless author time, but produce almost nothing in the way of sales. When it comes to conventional wisdom for becoming a bestseller ... well, frankly, there is none. Everything you've heard is probably wrong.

After this dismal start, take heart. You CAN sell books. But just not in the ways you’ve always believed.

Chapter 2.

Replacing Editors

with Bean Counters

Selling books can make you crazy.

Writing books can make you crazy, too, but in a different way. No manuscript is ever as perfect as you hope, and so you become a lioness forever on the prowl—tracking down every limp sentence, pouncing on every defenseless near-miss word.

When at last your work becomes so polished that the words resonate on the page, you know you’re holding a treasure, something to keep forever.

But then comes SELLING.

For thirty-one years I’ve been writing books—twelve to date, with this being my thirteenth. It’s startling when I look back and see how much the publishing world has changed, how at first, in the eighties, I did almost no marketing.

The landscape altered gradually—so slowly the change was barely perceptible. Back in the early nineties I was only partially involved in selling books to readers. In that era most of my writer friends gave their projects approximately the same effort I did—meaning as much or as little as they wanted to.

Now, in this new century, those of us who never became Big Names in the industry (in my case because I kept hopping from one genre to another), find ourselves doing nearly ALL the selling.

This isn’t what most of us signed up for—or at least not what we thought about as we hunkered over our computers. After all those months of crafting a saleable manuscript and finally convincing an editor to take it, we feel entitled to slack off and bask in THE BOOK.

Yet we can’t. Marketing has changed so radically that the old methods of putting our books into the hands of readers now seem dated and resemble the way gas was once pumped into our cars ... mostly done by somebody else.

Today you stoke the car yourself. And similarly—unless you’re famous or working in a few, limited genres—you hustle your own books and corral your own buyers.

For most of us, coaxing money out of strangers is embarrassing, if not demeaning, and doesn’t fit who we are. Few artists are, by nature, pushy. As kids, we never sold much lemonade on the curb.

Even the Wall Street Journal, in its dissection of today’s publishing world, wrote in what seemed like a tone of surprise: Publishers not only expect the author to deliver a manuscript, they expect him to deliver the audience, too. They announced this in late 2009, as though it was a startling concept, big news to the general public.

It’s rather like asking the chef in a restaurant to create a gourmet dinner, then go out on the sidewalk and coax passersby to come in and eat.

Not exactly sporting ... but until your book is famous you’re the sidewalk beggar, the vital link to readers. You do all the trickiest selling. In succeeding chapters, we’ll discuss HOW—and we’ll talk about First Steps.

For now, I’ll address a vexing question: What was the creeping disease that inexorably changed writers into hucksters? Into obsessive peddlers?

I remember so well the disease-free years. In the early eighties, all of us, whether famous or not, had access to the big publishers—so it wasn’t too surprising that my first book came out from Prentice-Hall. Back then, the quality of your writing was all that mattered: the logic, organization, and sprightliness of your nonfiction, or the distinctive voice, memorable characters, and gripping storyline of your fiction.

Selling books was the publisher’s job, and what they didn’t do, the bookstores jumped in to finish.

For most of the twentieth century, all major publishers—the Random Houses, the Macmillans—employed editors who were free to buy and publish the books they loved, while also mentoring, even