Publishing Strategies for Poetry Magazines and Collections

Below is a list of strategies that successful poets often use to get their work published more frequently in poetry magazines:

1. Read the Target Magazine – They study each magazine's tone, style, and themes to ensure their poems are a good fit.

2. Follow Submission Guidelines Exactly – They carefully read and follow formatting, length, and submission window requirements.

3. Submit Regularly – They treat submissions like a routine, often sending out work every month or quarter.

4. Revise Ruthlessly – They spend significant time editing and improving poems before submission.

5. Build a Strong Portfolio – They have a collection of polished, varied work ready to submit when opportunities arise.

6. Research Markets – They use tools like Duotrope, Submittable, or The Poet’s Market to find appropriate publications.

7. Write Cover Letters Strategically – They keep it brief, professional, and personalized if possible.

8. Track Submissions – They keep records of where and when they've submitted to avoid mistakes or double submissions.

9. Read Widely in Contemporary Poetry – They stay current with trends and styles in poetry publishing.

10. Network with Other Poets – They attend readings, workshops, or online groups to build relationships and stay informed.

11. Submit to a Mix of Big and Small Journals – They diversify their targets, aiming for both prestige and visibility.

12. Enter Contests Selectively – They submit to reputable poetry contests where publication is part of the prize.

13. Maintain an Online Presence – They often have websites, social media accounts, or newsletters to share their work and boost credibility. (However, you should only be sharing previously published work on social media/etc. Some magazines/publications only accept work that was never previously published, including online. Thus whenever you create new work you should always keep it offline until after it has been published in a magazine or similar publication.)
    

14. Accept Rejection Professionally – They view rejections as part of the process and keep submitting.

15. Read Submission Calls Carefully – They pay attention to themed issues or editors' preferences to tailor submissions.

When does Submission Fees = Vanity Publishing???

Rule of Thumb

    $1–$4 = Usually legitimate.
    $5+ = Proceed with caution — it may be vanity publishing.

If the writer is the customer, not the reader, you’re likely looking at a vanity operation.

Not Vanity Publishing

Legitimate literary magazines sometimes charge small submission fees — typically $1 to $4 — and this is not considered vanity publishing. Here’s why:

•     These fees usually cover administrative costs, like using Submittable or paying proofreaders.
•     The magazine is editorially selective — not every story is accepted.
•     They don’t charge you to be published, just to be considered.
•     They’re typically respected in the literary community and have a strong readership base, which translates to receiving a lot of submissions.
•     They usually pay the writers if their story is accepted.

This is considered a normal part of the submission process for many established and/or nonprofit magazines.

When It Is Vanity Publishing

If a publication charges over $5 per submission — usually fees in the $5 to $20 or more range — it is more likely to be vanity publishing, especially if:

•     The acceptance rate is suspiciously high (i.e. they accept almost everything).
•     They offer little to no editing or promotion.
•     They require additional fees to actually be published, or they require you to buy the magazine your work appears in, or they require you to buy a subscription before your manuscript can even be considered.
  
•     The publication exists primarily to make money off writers, not to share quality literature with readers.
• Their readership is very low or non-existent.
  

In these cases, the magazine isn’t serving readers — it’s serving itself by preying on hopeful writers. That’s the hallmark of vanity publishing. They're basically just scamming writers!

Conclusion...

Regular magazines may be harder to get into (because they have a higher rejection rate), but at least they have actual readers.

For example:

Peasant Magazine doesn't charge any fees for submitting stories, and pays authors for their work, and while the magazine's readership is currently small and growing, at least it has real readers.

Writing Tip: Stay Motivated

Staying motivated and finishing a book is arguably the most important skill an author can have. While talent and creativity are essential, the ability to push through challenges, doubts, and distractions is what turns an idea into a completed manuscript. 

Consistency, perseverance, and a clear vision are key to transforming your words into a finished book. It's not just about starting the journey—it's about seeing it through to the end.

 

 

Why Writers Should Keep Their Day Jobs During a Recession

Don’t Quit Your Day Job (Yet)

When the economy dips into recession—or worse—many industries suffer, and the publishing world is no exception. For writers with dreams of launching a novel, economic downturns can feel like slammed doors. Advances shrink, publishers grow cautious, and readers spend less. But a recession doesn’t have to mean creative paralysis. In fact, it can be the perfect time to refine your craft, build your portfolio, and prepare for a stronger debut when the market rebounds.

Even in the best of times, writing rarely offers financial stability for newcomers. During a recession, it's even riskier. Advances and royalties decrease, competition increases, and marketing budgets dry up. That dream of “quitting to write full-time” can quickly turn into financial stress and creative burnout.

A day job—especially one that’s stable—can be a writer’s best ally during uncertain times. It offers:

• Security: So you’re not making desperate decisions or rushing your work to market.

• Perspective: Interacting with the world keeps your ideas grounded and relatable.

• Routine: The structure of a job can help create disciplined writing habits.

Focus on Craft, Not Commercialization

Recessions aren’t great for selling books, but they’re ideal for becoming a better writer. With fewer publishing opportunities and lower odds of immediate success, the pressure lifts. You can take the time to:

• Experiment with voice and genre.

• Work on multiple short pieces rather than investing all energy into one novel.

• Join writing workshops, critique groups, or take affordable online classes.

Writing without the urgency to sell can produce some of your most honest and lasting work.

Short Stories: A Smart Strategic Move

While novel publishing slows down in a recession, short stories remain a viable path. Literary magazines, online journals, and anthologies still seek quality content—and many pay, even if modestly. Short fiction allows you to:

• Build publishing credits and a name in the industry.

• Get used to working with editors and submitting on deadline.

• Reach readers without the heavy lift of publishing a full-length novel.

Many acclaimed novelists—like Jhumpa Lahiri, George Saunders, and Alice Munro—built reputations through short stories first. It’s not just a stepping stone; it’s a valuable form in its own right.

Delay the Novel Debut

If you’re sitting on a finished manuscript, now might not be the best time to launch it. Publishers are risk-averse during recessions, and even self-publishing becomes tougher when readers are cutting back. Instead of rushing to release:

• Use the time to revise and tighten your manuscript.

• Write a second book, creating a stronger portfolio.

• Research agents and publishers so you’re ready when the market picks up.

Timing matters in publishing. A strong novel released into a weak market can disappear. But a well-crafted book launched into a recovering economy can thrive.

Play the Long Game

Writing is a lifelong pursuit, and recessions—though painful—are temporary. The economy will recover, and when it does, readers will be hungry for stories, perspective, and meaning. If you’ve used the downtime wisely—honing your craft, staying financially afloat, and building a foundation—you’ll be ready.

So keep the job, keep writing, and stay focused. Great writers aren’t made in perfect conditions—they’re forged in persistence.

American Recession: What it means for Book Sales

The Trump Recession is Coming...

As economic indicators continue to flash warning signs, the United States appears to be edging closer to a recession—some experts even warn of a potential depression if certain financial pressures escalate. Rising interest rates, persistent inflation, job market instability, and declining consumer confidence are creating a tough environment not just for households and businesses, but also for the creative industries—especially book publishing and media.

The Immediate Impact on Book Sales

When consumers tighten their belts, discretionary spending is the first to go. Books—especially hardcover editions, collector’s items, and non-essential reads—tend to fall off shopping lists quickly. This could lead to:

• Declining bookstore traffic, especially in independent shops that rely heavily on local footfall.

• Lower pre-order and launch performance for new titles.

• Reduced budgets for schools and libraries, leading to fewer bulk orders of educational and literary titles.

• Fewer impulse buys in stores and online, especially for print media.

Even bestselling authors could see dips in royalties, while debut or mid-list authors might struggle to find publishers willing to take a financial risk.

Shifting to Digital, But At What Cost?

In hard times, readers often pivot to lower-cost alternatives—ebooks, discounted paperbacks, and used books. While this keeps readership alive, it often generates less revenue per unit for authors and publishers. Self-publishing may grow, but saturated markets and aggressive discounting on platforms like Amazon may force creators to cut prices just to stay visible.

There may also be a surge in piracy, as financially strained consumers seek free content, and subscription fatigue could hit services like Audible, Kindle Unlimited, and Scribd, as users reassess monthly expenses.

The Pressure on Publishing Houses

Major publishing houses may delay risky projects, cut staff, or reduce their title lists. Marketing budgets are often the first to be slashed in economic downturns, which affects an author's ability to gain visibility—even if their book is accepted for publication.

Small presses and independent literary magazines may be forced to shut down or drastically reduce output, making it harder for unique or marginalized voices to reach an audience. Traditional media outlets that review and promote books may also scale back cultural coverage.

Cultural Impact: Less Reading, More Streaming?

In economic crises, people often seek affordable entertainment—but ironically, books may lose out to streaming platforms, which offer more perceived value per dollar. If a family has to choose between a $25 hardcover and a $10/month streaming service, the book often loses.

This shift may reduce not just book sales, but also overall cultural engagement with literature, literary journalism, and long-form content.

A Tough Road Ahead—But Not Hopeless

Despite the economic headwinds, the U.S. publishing industry has shown resilience in past downturns. The 2008 financial crisis spurred growth in YA fiction, dystopian literature, and digital platforms. Similarly, a new recession could inspire new genres, business models, or formats that resonate with the times.

Authors and publishers who adapt quickly—by embracing digital formats, direct-to-reader models, or innovative promotional strategies—may still find success, even as the broader market contracts.

---

Final Thought

A recession, or worse, a depression, will not just be a financial storm—it will be a cultural one. Fewer books sold means fewer stories told, fewer journalists paid, and fewer perspectives shared. The written word has always been a reflection of its time—and how we support it in crisis says a lot about what we value as a society.

How Recessions Affects Book Sales and Written Media

The Money Behind the Words

Books, ebooks, magazines, and newspapers all serve as vessels for ideas, entertainment, and information—but behind every printed page is a complex web of economic forces. While we may think of publishing as a creative industry, it is deeply affected by the same economic trends that influence any other business. In this first installment, we’ll look at how consumer purchasing power, inflation, and overall economic health directly impact book sales and other written media.

Disposable Income and Consumer Priorities

Books are often categorized as non-essential goods. When the economy is booming, people have more disposable income and are more likely to spend on entertainment and leisure, including books. But when times get tough—recessions, job losses, or high inflation—spending on books often declines. This can have a particularly harsh effect on hardcover sales and print magazines, which tend to be more expensive.

During downturns, readers may gravitate toward cheaper options like ebooks or free online content. Libraries often see an uptick in usage when the economy tightens, reflecting a shift in consumer behavior toward cost-saving alternatives.

Price Sensitivity and Inflation

Inflation impacts both consumers and publishers. Rising printing and distribution costs—due to higher prices for paper, ink, and fuel—can force publishers to increase book prices. At the same time, readers facing higher costs of living may become more price-sensitive. This creates a dilemma: raise prices and risk lower sales, or absorb the cost and reduce profit margins.

Small publishers and independent authors often feel this squeeze more than large publishing houses, which have more flexibility and resources to weather economic changes. This can reduce the diversity of voices in the market, skewing publishing toward safer, more commercially viable content.

Shifting Toward Digital

In challenging economic times, publishers often pivot more toward digital formats to cut production costs. Ebooks and digital magazines eliminate the need for printing and shipping, offering a lower-cost alternative for both producer and consumer. This digital shift isn’t just a technological trend—it’s also an economic one.

But this comes with trade-offs. While digital publishing reduces costs, it also leads to tighter competition, more price undercutting, and the challenge of standing out in a saturated online marketplace. For newspapers and magazines especially, advertising revenue—once a major income stream—has shifted heavily toward online platforms like Google and Facebook, making profitability an ongoing struggle.


Authors, Publishers, and the Shifting Landscape

Above we looked at how general economic conditions influence consumer behavior and pricing in the world of books and other written media. Now, let’s zoom in on how these forces impact the people and companies behind the words: authors, publishers, and media outlets. We’ll also explore how shifting economic realities are changing how content is produced and consumed.

The Squeeze on Author Income

For many writers, publishing has always been a tough business. Only a small percentage of authors earn a full-time living from writing alone. Economic downturns tend to widen this gap. Advances shrink, royalties are delayed, and publishers become more risk-averse, often investing only in well-established authors or viral-ready concepts.

Independent authors, who rely heavily on self-publishing platforms and ebook sales, often see their profits squeezed as well. When consumers cut back, sales drop. And on platforms like Amazon, aggressive price competition can erode already thin margins. Even subscription models like Kindle Unlimited, while offering exposure, tend to pay out less per read than traditional royalties.

Publishers Playing It Safe

Economic uncertainty often leads publishers to adopt more conservative acquisition strategies. Instead of taking a chance on experimental genres or debut authors, they favor proven trends, celebrity memoirs, or books with strong platform backing (such as influencers or existing fan bases).

This has the ripple effect of reducing diversity in voices and stories. Smaller, independent presses that specialize in niche or underrepresented perspectives are often the first to feel the pinch during economic contractions, leading to a more homogenized literary marketplace.

Newspapers and Magazines: Reinvent or Die

No segment of written media has been hit harder by economic change than print newspapers and magazines. Shrinking ad revenue—long their lifeblood—combined with the rise of free online content and social media platforms, has forced many publications to either pivot to digital or shut down entirely.

Paywalls and subscription models have become standard as publishers try to monetize their content. While some major outlets (like The New York Times) have succeeded in building large subscriber bases, smaller publications struggle to convince readers to pay when so much content is free elsewhere.

Changing Consumption Habits

As media becomes more fragmented and time becomes a premium commodity, consumers are leaning toward faster, more convenient content. Short-form articles, podcasts, newsletters, and audiobooks have all seen a rise, especially during economically stressful times when commuting habits and lifestyle patterns shift.

Economic pressure often leads readers to seek more value-packed or bite-sized content, and publishers are adapting by producing shorter books, serialized fiction, or bundled subscription services that blend ebooks, audiobooks, and articles in one platform.


The Future of Words in a Shifting Economy

In the first two parts of this series, we explored how economic forces affect consumer habits, author income, and publishing decisions. Now, let’s look forward. The future of books, ebooks, magazines, and newspapers will be shaped not only by economic conditions but also by how creators and companies adapt to them. Innovation, technology, and new models of monetization will determine who survives—and thrives—in the next chapter of written media.

Subscription and Streaming Models

As consumers become more cautious with their spending, the demand for value-packed offerings continues to rise. Subscription models—like Scribd, Audible, Kindle Unlimited, and Substack—have already gained significant ground. These platforms promise “all-you-can-read” or “listen as much as you want” experiences at a fixed price, often undercutting the traditional single-purchase model.

The economic upside for consumers is clear, but the payout for creators remains a sticking point. Royalties in these ecosystems are often opaque and lower than direct sales. Still, many authors, journalists, and publishers are embracing these platforms as a way to build recurring income and expand reach.

Direct-to-Consumer Models

Economic pressure and digital tools are pushing more creators to bypass traditional gatekeepers. Platforms like Patreon, Kickstarter, and even author websites offer ways to fund writing projects directly. This allows writers to retain more control and profit—but it also means they must handle marketing, production, and audience building themselves.

In an uncertain economy, this model offers resilience: if you have a loyal base willing to support your work, you're less dependent on industry-wide trends. But it requires entrepreneurial skills alongside literary talent.

AI and Automation

The rise of AI tools is also reshaping the economics of content creation and making it more difficult for real writers. From auto-generated news briefs to AI-assisted editing and formatting, technology can reduce costs—but also introduces new ethical and creative concerns. It also raises fears of oversaturation, plagiarism, and the devaluation of original work. Effectively forcing real writers to lower their prices in order to compete with AI, or to raise their prices because of too few sales.

Magazines and newspapers are already experimenting with automation in data reporting, and some publishers are using AI to develop plot frameworks or summaries. As costs rise and budgets shrink, automation may become less of a novelty and more of a necessity for companies whose bottom line is making money.

Survival of the Fittest

The future of the written word won’t be about replacing one model with another—it’ll be about survival. Either real writers will win, or some kind of AI-hybrid model will win. Successful authors and publishers will blend print and digital, subscription and direct sales, traditional publishing and indie routes. Magazines may offer both premium print editions and mobile-optimized content possibly using AI to make the news of the day more succinct. Newspapers may rely on microtransactions, newsletters, and branded podcasts. Books may come with interactive features, community access, or serialized delivery.

In all of this, economics will continue to be the quiet engine behind the scenes. Access to capital, changes in consumer spending, global economic shifts, and technological infrastructure will influence not just what gets written—but who gets to write, publish, and be read. It makes real writers very vulnerable, especially during times of recession or even depression.

Conclusion

Written media is as vulnerable to economic tides as any other industry, but it also has unique resilience. Stories, journalism, and ideas will always find a way to reach audiences. The format may change. The revenue model may shift. But the hunger for words—for meaning, truth, escape, and knowledge—remains constant. And where there's demand, there's always a future.

How to Claim a Vacation as Book Research / Business Expense

The Key Rule: The Primary Purpose Must Be Business

For authors, especially those who write novels grounded in real-world settings or history, travel isn’t just for fun—it can be part of the job. That dreamy trip to Scotland? If you're a romance novelist writing historical fiction set in the Highlands, it could become a legitimate tax-deductible business expense—if done right.

If you're going to deduct travel expenses, the primary reason for your trip must be related to your work as an author. That means you're not simply tagging on a few hours of research to a pleasure trip—you're going there to do work.

Ask yourself: Would I still go on this trip if I weren’t writing this book? If the honest answer is “yes,” it’s a red flag. The IRS (or CRA in Canada, HMRC in the UK) looks closely at whether the trip was primarily business.

What You Can Claim as a Business Expense

If your trip is mainly for research, here’s what you can often deduct:

Lodging

    Hotel costs while you're conducting research.

    Airbnb stays if used during the research portion of your trip.

Transportation

    Flights to and from your research destination.

    Rental car or local transportation used for getting to historical sites, archives, or interviews.

Meals

    50% of meal costs while you're conducting research. Keep detailed records of who you met with (if applicable) and the business purpose of the meal.

Research Materials & Access

    Museum entry fees, historical site passes, and guided tours relevant to your book's setting or theme.

    Fees for accessing archives or hiring a local historian or translator.

Office Supplies or Tools Used on the Trip

    Notebooks, maps, digital audio recorders, or camera gear used for documentation.

    Portable laptop or software if it’s specifically purchased for use during the trip.

What You Cannot Claim

Just because you’re a writer doesn’t mean everything on the trip is deductible. Here’s what usually doesn’t count:

Personal Sightseeing

    A day spent hiking or visiting unrelated attractions, like amusement parks or beaches, is personal.

Family or Friends’ Expenses

    Your spouse or kids’ airfare, meals, and entertainment are not deductible unless they’re also directly involved in your research.

Luxury Upgrades

    First-class flights or luxury suites that go beyond a reasonable business need won’t pass the audit test.

Souvenirs or Gifts

    Scottish wool blankets or souvenir kilts—unless they are part of your research or promotional material (e.g., props for a book launch)—are personal expenses.

How to Document Your Trip for Tax Purposes

To back up your deductions, keep these records:

    Itinerary or travel agenda showing how much of the trip was for research.

    Receipts for all expenses (meals, lodging, transportation, etc.).

    Photos or notes from the sites you visited that relate to your book.

    Journal entries or blog posts showing you were actively researching (e.g., notes from a castle tour, interviews with locals, sketches of locations).

    Proof of connection to your book: Mention the location in your book’s setting or notes to show the link.


Bonus Tip: Promote Your Trip as Part of your Author Platform

Documenting your research trip on social media, a blog, or in your newsletter is not only great marketing—it adds credibility to your claim that the trip was for business.

For example, if you post Instagram stories from the Isle of Skye explaining how you're capturing the atmosphere for your next historical romance, you're reinforcing your trip’s professional purpose.
Final Thought

Turning a vacation into a business expense is possible, but it requires planning, integrity, and careful documentation. If your primary goal is book research, and you treat it like a business trip—not a holiday in disguise—you can explore the world and write it off.

As always, consult with a tax professional to ensure you’re following local laws and maximizing your legitimate deductions. Happy researching—and writing!

Marketing and Pricing Strategy for eBooks and Paperbacks

Format Typical Price Range Paperback $12 – $18 (indie), $14 – $20+ (trad pub)     eBook $2.99 – $9.99 (indie), $9.99 – $14.99 (trad pub)

Note: Indie books are generally shorter than traditionally published books. We will come back to this topic further below...

Thus the average price of a paperback is about $14.99 for an indie author, and about $16.99 (or more) for a traditionally published author.

But when it comes to eBooks the pricing becomes trickier, as Amazon and other companies often set a limit of $2.99 to $9.99 for ebook prices, and give the author less royalties if they go above or below that number. The average price for an ebook by an indie author is likely close to $6.49.

Meanwhile traditional publishers get better pricing options, allowing them to charge more for their ebooks. The average price for a tradpub ebook is about $12.49 or so.

If we want to express this as a percentage of the paperback cost then it would be about...

43.3% for indie ebooks.

73.5% for tradpub ebooks.

Thus if an indie author was selling a paperback for $9.99 then they should probably be selling the ebook for $3.99 or $4.99.

However as they become more popular, and get better book reviews, they should reconsider their pricing strategy so that they can make a more reasonable profit per ebook sale. As such if an author has 10, 100 or 1000 ratings / reviews (and assuming that the reviews are mostly positive) then they could in theory raise the price of the ebook/paperback by $1, perhaps raising the ebook price to $5.99, $6.99 and $7.99 when they reach different sales quotas.

Obviously the length of the book is also a factor. A novella or pulp fiction novel will be shorter and therefore cheaper.

Meanwhile an author writing 600+ page (or 300,000 words) novels might be charging $9.99 for the ebook and wishing that Amazon/etc would allow them to charge a higher price. Likewise they might be charging $24.99 or up to $29.99 for the paperback.

Why do traditional publishers set higher prices for ebooks?

They do this during book launches to protect the pricing and success of the paperbacks. They typically set the ebook price at $1 to $5 less than the paperback as a way of encouraging people to just buy the paperback instead. That is their motivation.

They might lower the ebook pricing later after the launch, but during the launch the ebook price will be pretty close to the paperback price.

Meanwhile indie publishers often price their ebooks about $5 to $10 cheaper than the paperback.

 

What about prices less than $2.99?

Prices less than $2.99 should only be used when you are having a promotional sale or if you're selling individual short stories and novelettes.

What about hard cover books and audiobooks?

Indie Hardcover Book    $17.99 – $29.99

Traditional Hardcover Book    $24.99 – $35.00

Indie Audiobook    6–10 hrs    $9.99 – $19.99

Traditional Audiobook    10–12 hrs    $20 – $35

One of the things you should note here almost immediately is that indie audiobooks are often considered to be shorter than traditional published audiobooks. This isn't always true however, not for every author, but it is true generally.

Indie books are often about 30,000 words shorter than traditional published books.

• Indie    50,000 – 90,000 words (fiction)     
• Traditional    80,000 – 120,000 words (fiction)

Note: Nonfiction indie books can be even shorter. But that's a different topic for a different blog post.

Another thing you may have noticed is that traditional hardcover books and trad audiobooks are almost on par in terms of price. Meanwhile indie audiobooks are priced so that the average indie audiobook is selling for about $14.99, on par with the price for indie paperbacks.

Clearly most authors are trying to sell paperbacks and audiobooks at roughly the same price, when they really should be charging a price that is closer to the hardcovers.

How much should authors be charging for their books, based upon length?

Taking into account that the average tradpub book is about 100,000 words and $16.99, and that the average indie book is about 70,000 words and $14.99 then we can start to do some math in terms of pricing...

If you are an indie author and your book is the following length, then you should be pricing your paperback books accordingly...

Wordcount    Paperback Price    Ebook Price    Hardcover Price    Audiobook Price

5,000            $3.99 initially.        $0.99                NA                        NA

10,000          $4.99 initially.        $0.99                NA                        NA

15,000          $5.99 initially.        $2.99                NA                        NA

20,000          $6.99 initially.        $3.99                NA                        NA

25,000          $7.99 initially.        $4.99                NA                        NA

30,000          $8.99 initially.        $5.99                $13.99                   $7.99

40,000          $9.99 initially.        $6.99                $15.99                   $9.99

50,000          $11.99 initially.        $7.99               $17.99                  $11.99

60,000          $12.99 initially.        $8.99               $19.99                  $13.99

70,000          $13.99 initially.        $8.99               $21.99                  $15.99

80,000          $14.99 initially.        $9.99               $23.99                  $17.99

90,000          $15.99 initially.        $9.99*             $25.99                  $19.99

100,000        $16.99 initially.        $9.99*             $27.99                  $21.99

110,000        $17.99 initially.        $9.99*             $29.99                  $23.99

120,000        $18.99 initially.        $9.99*             $31.99                  $25.99

130,000        $19.99 initially.        $9.99*             $33.99                  $27.99

140,000        $20.99 initially.        $9.99*             $35.99                  $29.99

150,000        $21.99 initially.        $9.99*             $37.99                  $31.99

Etc

* Don't release the ebook version immediately. Release the paperback, hardcover and audiobook versions first. Delay releasing the ebook version in order to maximize sales/revenue.

Notice the word "initially". You can change the price later, increase it, lower it, etc. Whatever best suits your needs. But you should at least initially be offering your book at a price that allows you to get a decent profit margin.

NA: It isn't so much that it is not available, it is more of a matter that it doesn't always make good financial sense to make audiobooks or hardcovers for short fiction. It makes more sense to do that for an anthology collection, not the individual stories.

Strategy Time!

It is our opinion that indie authors should be doing several things in order to sell more books:

1. Don't sell yourself short. If your book is less than the prices listed above, you're selling your book for less than it is arguably worth.

2. Don't be afraid to raise the prices of your hardcovers and audiobooks in order to maximize revenue.

3. Don't release your ebook immediately during the general release. If possible you should instead schedule the ebook to be released a few months (1 to 3 months is a decent amount of time) later than the paperback.

4. Traditional publishers use a strategy wherein they release the hardcovers first, alongside the audiobooks, and delay publishing the paperback version for several months, and eventually release the ebook up to 1 year after the initial release. They do this because some readers will buy the hardcover regardless.

5. Consider the option of listing the hardcover and audiobook versions as the same price. Traditional publishers often do this because it is more profitable, so why not you?

The "Secret Marketing Techniques" of Publishers

Ever wondered how publishers promote their books? What are their "secret marketing techniques"?

Below is a list of lesser known strategies that publishers use often behind the scenes but play a major role in helping books gain attention and build momentum.

1. Advanced Reader Copies (ARCs): Publishers send out ARCs to influencers, bloggers, and reviewers well before the book's release to build buzz and secure early reviews.

2. Targeted Email Campaigns: Publishers curate segmented email lists, sending personalized book recommendations based on reader preferences, past purchases, or genre interests.

3. Strategic Book Placement: Publishers partner with bookstores, libraries, and even airports or coffee shops for prime shelf space, sometimes in high-traffic areas to boost visibility.

4. Author Collaborations: Publishers arrange collaborations between authors and influencers in related industries (e.g., podcasts, YouTube channels) to widen the book’s reach.

5. Social Media Stunts: Publishers sometimes orchestrate viral social media campaigns, such as teaser posts, countdowns, or surprise giveaways, to generate excitement.

6. Book Clubs and Reading Groups: Publishers target book clubs by providing discussion guides, author Q&A sessions, and exclusive content to encourage group reads.

7. Special Editions & Collectibles: Creating limited editions, signed copies, or exclusive merchandise to appeal to collectors and superfans.

8. Book Trailers & Visual Content: Publishers invest in eye-catching book trailers or animated content to visually engage potential readers on social platforms.

9. Influencer Marketing: Publishers collaborate with micro-influencers or niche bloggers to create more authentic, word-of-mouth recommendations.

10. Cross-Promotion with Other Authors: Publishers often cross-promote books from different authors within the same genre to create a network of books readers can explore.

11. Targeted Print Ads: Running ads in specific magazines or industry publications where targeted readers are likely to be engaged, such as genre-specific periodicals.

12. Early Access via Subscription Services: Offering books through subscription services like Audible, Kindle Unlimited, or Book of the Month to gain initial traction and reviews.

Marketing Tips for Authors: Get a Website!

In today’s competitive literary world, authors need more than just social media to promote their books—they need a professional author website.

A well-designed website serves as your digital business card, showcasing your books, biography, and contact information in one place. It offers credibility, provides easy access to your work, and helps readers connect with you directly. A blog or newsletter section can also build a loyal audience, while an online store or links to retailers make purchasing books seamless.

In short, an author website is absolutely essential for building your brand, increasing visibility, and growing your readership.

If you're looking for a company to design your author website we recommend designSEO.ca, a Canadian website design company run by a Canadian author/publisher. (He also makes memes about writing/publishing/marketing.)

Bonus Marketing Tip:

Also you should really make business cards / bookmarks that you can give to people when you meet potential readers.

Libraries: How Public Access to Literature Grows in a Recession

When the economy falters, libraries shine...

In times of recession, as book prices climb and discretionary spending shrinks, public libraries become more than just quiet reading spaces—they become community anchors, education hubs, and lifelines for readers and writers alike.

As bookstores shutter, school budgets shrink, and publishers tighten access, libraries expand their roles. In many ways, they are the last fully public literary institution—open to everyone, free to enter, and powered by people who believe that reading should never be a luxury.

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1. Circulation Rises as Wallets Thin

Historically, library usage surges during economic downturns. When people can’t afford to buy books or pay for streaming services, they turn to their local branches.

• Borrowing increases across all age groups.

• Digital checkouts skyrocket, especially ebooks and audiobooks via platforms like Libby and Hoopla.

• Waitlists grow longer for new releases and bestsellers.

In tough times, readers don’t stop reading—they just stop buying. Libraries fill that gap, offering continued access to stories, ideas, and education.

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2. Free Digital Resources Become Essential

Modern libraries are more than shelves and stacks. During recessions, they become free content providers in a digital world dominated by paywalls:

• Ebooks, audiobooks, films, and even language learning tools are available to cardholders at no cost.

• Many libraries offer online writing workshops, author talks, and book clubs—all virtually, and all free.

• Patrons can often access research databases, genealogy tools, and professional development resources they couldn’t otherwise afford.

For writers, these are valuable tools for both craft and career. And for readers, they’re a refuge from rising subscription fees and entertainment costs.

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3. Libraries Support Writers—Quietly but Powerfully

Though not often the focus of literary conversations, libraries play a huge role in supporting authors, especially during lean economic times.

• Library sales matter: Libraries often buy hardcover editions, boosting print sales and visibility.

• Events and readings at libraries provide authors with exposure and modest speaking fees.

• Grants and writing residencies hosted through library systems can sustain writers between book deals.

Importantly, libraries keep books in circulation—long after the commercial spotlight has faded. For midlist or debut authors, that long tail of visibility can be invaluable.

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4. Community-First Programming Expands

During recessions, libraries often expand their programming, even when facing budget cuts.

• Job-seeking workshops, resume writing help, and financial literacy events often attract new visitors.

• Book clubs become social anchors for people feeling isolated or anxious.

• Children’s programming helps fill the gap when families can’t afford camps or private lessons.

By doing so, libraries increase incidental reading—getting books into the hands of people who might not have sought them out otherwise.

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5. Advocacy in an Era of Austerity

Ironically, while library use spikes in recessions, funding often declines. Local governments, facing budget shortfalls, may reduce library hours, cut staff, or halt acquisitions.

But many communities push back:

• Friends of the Library groups organize fundraisers and advocacy campaigns.

• Local authors and artists often lend their platforms to support branch funding.

• Library systems experiment with creative solutions—like “express checkout” kiosks, community partnerships, or grant writing.

Writers, in particular, have a vested interest in protecting these institutions. Libraries keep literature alive during economic downturns—and help authors stay connected to their audience when commercial markets waver.

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Public Stories, Private Struggles

In a recession, every dollar counts. But the value of libraries can’t be measured in profit margins—they exist to ensure access, equity, and the idea that everyone deserves a good book, regardless of income.

For readers, they are a safe harbor.

For writers, they are quiet allies.

And for society, they are a reminder that storytelling is a public good—not just a private transaction.