The Unnoticed Impact Of Reading – Multifaceted Cryptographs

Effective, goal-focused reading proves a powerful instrument for enhancement of diverse fields of human activities. Thereto, acquired findings within the process of reading depict ‘multiplication factor’ for the benefits of their practical application.Adopting the reading habits in large proceeds with respectful collection of relevant information, supplying the insight into the desired subject, the competence to write upon such subject and the command of trustworthy data for our statements. Coincidentally, exercising EFFECTIVE reading to the maximum of our limited time debases the primitive fear from having our work publicly rejected. Let alone the most beneficial and renowned side-effect on our language of expression, by scaling up its fluency, richness and captivity.An aspiring writer cannot afford less than accepting reading as the daily bread, entailing the virtue of a mandatory pillar for any kind of production. In this respect, pre-writing and post-writing sequences of writing process have been found prominent to lean onto reading. First sequence, in the form of UNDERSTANDING the assignment, induces both the ability of answering the subject well to the point and thus sustained focus delivering logic to the text. This well delivers Czech saying ‘Rather take the measurement twice, so to succeed with the cut at one dash.’ Reading after us at the end of the production assures the future readers will comprehend it easier. Inherently, the final proofreading secures correct grammar and logic of the structure.


Here too, provided that we leave a healthy comment below the published articles, we are urged to READ contributions of others, bringing along several benefits: discovery of different perspectives to the subject; setting a goal of discerning author’s contribution; writing exercise; familiarity with the style of review; training on how the target audience will apprehend our own published piece. And the author himself receives a straight feedback to his/her ‘fruits’.Right yesterday I got reminded how reading, inherently with studies, of the desired subject precedes creation of a QUALITY publication. Entirely immersed in the notoriously known stifling conditions of the survival of Jewish minority in Western Europe, I literally DEVOURED selected chapters of The Literary Study of the Creator of the Modern Hebrew Novel, Abraham Mapu, by David Patterson.The universal poverty of the community, the coercive censorship of anti-secular Pietists and ortodox Hasidim, the needless delays of publications, the health affliction of both the novelist’s wives and him too. All these played against the diligent activist Mapu, yet never completely torn down his escaping imagination and intellectual possession, built up by his intense early studies and READING of subsequently discovered Latin, German, French and Russian works, with which he intended to enlighten Jewish minds to find a ‘common’ word with the European majority. Had he not mastered his words, through reading, Mapu would have never achieved such an influential and far-reaching outcome on many.


Aren’t books, in particular, the most multifaceted data disks for their most trustworthy archaeological and continual source of both historic and contemporary events’ CONTEXTS, springing out from their subjects, content and from the background of the work production? Have we ever thought of books as excellent cryptographs for encrypted message of author’s intention, of his life and his overall era? Do we ever realize how narrative books enhance our systematic thinking and indispensable imagination?

Top Ten Ways Authors Irritate Book Marketers

To promote a book, an author needs help, and that help comes from people in the media-from book reviewers to journalists, conference planners to bloggers, and many, many others. Approaching these people properly and following their guidelines is essential for winning them over so they will cheerfully help you to promote your book. While good manners and common sense should prevail, all book promoters have their horror stories about difficult authors. Following are the Top Ten most common complaints I have heard from various publicists and book promoters about authors with whom they have worked or refused to work.

1. Making Cold Calls: The telephone is a great means of communication, but it’s also a great interrupter. Before you call someone, visit his website and read all the guidelines. If you can’t get an answer to a question, send an email. People are busy, so when you call them, you interrupt them. Most people will reply to your email in a timely manner, and if a phone call is needed, you can ask in an email when is the best time to call.

2. Being a Bad Guest: Sometimes it’s not all about the author and the book. TV and radio hosts need guests and they like experts. They especially rely on authors of non-fiction books who can inform their audience. In these cases, authors need to remember it’s not about them or their book; it’s about the topic they were invited to discuss. Don’t try to plug your book during the show; just inform the audience. The host will doubtless mention your book when he or she introduces you and again when the program ends. Be a good guest by following protocol and fulfilling the host’s need to give his audience what it wants and you might even be invited back.

3. Being Impatient: Everyone is busy today. Magazines and other publications are often planning out issues six months in advance. Newspaper reporters are struggling to meet today’s deadline. And book reviewers have stacks of books to review. Don’t expect people to respond to you immediately. Don’t expect them to drop everything to read your book or even your press release. Give them a reasonable amount of time. If you contact someone and you don’t hear back from her right away, wait a couple of weeks and then follow up, or ask upfront what is the timeframe for when your book review or the news story might appear. Being impatient will only irritate people, and even if they do run your news story to make you quit bothering them, they might not be willing to do so the next time around.

4. Mailing Out Unsolicited Books and Manuscripts: In submitting books to publishers, usually a query letter is sufficient. Nothing is worse than getting stacks of unsolicited manuscripts in the mail without return postage. The same is true with books for reviewers, especially when accompanied by a letter that says, “Thanks for requesting my book” when the book wasn’t requested. Furthermore, as the author, you’re wasting money. Most unsolicited books end up never being read and instead are donated to a library or Goodwill store, while the manuscripts end up in the circular file, and you’ll be lucky to receive back a formal rejection letter.

5. Posting Your Own Book Reviews: Any author with a grain of sense should know better than to post book reviews at Amazon, Barnes & Noble, and other online bookstores and give his book five stars. Nothing makes an author look worse. And almost as bad is when Mom, your brother, and Uncle Joe post the reviews for you-you can often tell because Mom will say, “I’m so proud of you, Mary, for writing a book.” The same is true for your website if you have a guestbook to sign-tell your family to stay away from it. Your publicist who wants you to look professional will be pulling out his hair if he has to deal with your mom promoting your book.

6. Printing Non-Credible Blurbs and Testimonials: I know you’ve seen them. The testimonial from A.K. in Hawaii who doesn’t want anyone to know he loves a book but still writes a book review. Who is A.K.? Why do readers care? Find testimonials from authors and experts in your field who are willing to give you their full name. If you don’t know anyone who can give you a testimonial, get busy looking for someone. If you still can’t find anyone, don’t print any testimonials on the back of your book. No blurb is better than a bad or fake blurb. A.K. may be a real person, but for all the reader knows, the author could have made up A.K.

7. Indulging in Self-Praise: Authors who praise themselves and their books only prove to people what big egos they have. This lack of emotional intelligence likely also shows up in a lack of good judgment in writing the book. Don’t make your website read like a commercial for your book. Make it informative, but beginning with “My book is the best one ever written on this topic” and “This wonderful novel was written with touching scenes, engaging characters, etc.” is a turn-off. It’s fine if you have testimonials from others saying those things. Just don’t say them yourself. The same is true with the book’s cover. Tell people what your book is about, but save the praise for your endorsers.

8. Having Insufficient Material: Nothing irritates a book promoter more than trying to promote a book that is not promotable. What makes a book unable to be promoted? No website to visit; no placement in bookstores, either physical or online. No email address to contact the author. Believe it or not, I’ve seen authors who say, “Readers can mail me a check for $19.95 to my address at P.O. Box etc., if they want a copy.” People want a chance to look at the book and read about it before they mail you a check, and they want to pay online because it’s faster and easier than mailing a check. Create an Internet and bookstore profile or your books will rot in your basement.

9. Hiding Your Identity: No one can promote your book if you won’t promote it. Readers care as much about the author these days as they do about the book. You need to be a visible presence in your book’s promotion. No pseudonyms. Your face needs to be on your website and on the book’s cover with a short biography. You need to blog and promote via social media so you appear like a real person online. You need to make appearances at book signings and other events. It’s difficult for a publicist or a radio host to say “This is a great book” and make people interested. It’s easier for them to say, “I’ve read this great book and here is the author who is going to tell you about it.” Your book is your child. Don’t send your child out into the world alone. Hold its hand and go with it.

10. Expecting Something for Nothing: Nothing is going to irritate a book promoter more than an author who acts like he and his book deserve publicity and deserve it for free. It takes a long time to read a book and write a review or a blog. It costs money to operate a website and pay people to maintain it. Even if a service is free, such as a journalist writing a newspaper article about your book, appreciate the value of that person’s time and send a thank you note after the story appears. Always give book promoters a free copy of your book. And do not complain about prices. If you can’t afford the service, find one you can afford, but don’t argue over the fees. Remember that the publishing world is a small place-you don’t want word to get around that you are cheap or a deadbeat.

Authors, now that you know what irritates book promoters, ask yourself whether you’re guilty. Are people not returning your calls because you’re being pushy or you’re clueless about the proper ways to promote your book? Now you know. There’s no more excuses. Go out and promote your book with new confidence and proper promotion etiquette.

Cleaning Out The Clutter – 7 Steps To Sell Or Donate Used Books

It’s a good feeling to get your house cleaned up and the clutter removed, disposing of things you don’t need or don’t use any longer. And books — those dusty relics taking up space on your bookshelves or squirreled away in boxes in the attic — often become the target of most house de-cluttering campaigns. How long has it been that you’ve read that book? Do you really need it any longer? Why not get rid of it?

But, before you haul those used books off to the dump, take a little time learning about how to sell or donate used books to help local charities raise money, to recycle resources, and even earn some extra cash for your family.

Used books are hot sellers online. Websites like Amazon.com, eBay.com and CraigsList.org are filled with listings of used books. Some popular titles are no longer in print, so their value keeps skyrocketing. Some niche titles are collectible or hard-to-find. Some titles contain in-depth ‘how-to’ information people are searching for online. And, some titles simply help people save money by buying used over pricier new books.

In any case, take the time to follow these 7 steps to check typical pricing of used books before you dispose of them.

Step 1 – Gather your books you want to get rid of in one space, preferably one that has a large table for your to work. Your dining room table will do just fine.

Step 2 – Separate out fiction from non-fiction. The best titles to sell online are non-fiction, ‘how-to’ titles.

Step 3 – Sort the fiction titles into two boxes: Keep and Yard Sale. In the “Keep” box, I would put early or first editions of famous writers like Mark Twain, Ernest Hemingway and Rudyard Kipling. In the “Yard Sale” box, I would put popular fiction by authors like Dan Brown, Nora Roberts, Stephen King or Sandra Brown, plus anything from book clubs, slightly damaged books, recipe and cooking books, weight loss books and the stacks of magazines you want to get rid of fast.

Step 4 – Sort the non-fiction into two boxes: Keep and Yard Sale. In the “Keep” box, I would put biographies, history, how-to, pet, religious, UFO alien and crop circle books (big sellers!), relationship books, travel books, homeschooling topics, and any other books which look to be of a limited press run or contain unique content. Sometimes even small booklets on health topics sell very well online. In the “Yard Sale” box, put in Time-Life, Rodale Press, or Reader’s Digest books (these seldom sell online for enough to cover your shipping costs), books that are heavily marked up with writing or highlighting, outdated college textbooks, and heavily used children’s books, dictionaries, or self-help reference books.

Any damaged books, moldy books, or those titles that have torn, crinkled covers or are missing pages, throw them away now.

Step 5 – Sit down in front of your computer. Log onto Amazon.com with your “Keep” box on one side of you, and your “Yard Sale” box on the other side of your chair. Take the first book from the “Keep” box and set it next to your computer keyboard, face down. Somewhere on the back cover you should see an ISBN (“ISBN” stands for “International Standard Book Number,” which since the mid-1960s has helped the publishing industry keep track of millions of books).

Type that book’s unique 10-digit (sometimes a 13-digit) ISBN into the search bar at the top of the Amazon.com webpage. If you cannot locate the ISBN on the back cover or on the book publisher info page, then simply type in the title of the book, as you might very well find it that way too. Scan through the results until you find the book that matches the front cover of your book.

Now, click on the image or the book title, find the correct format (hardcover or paperback) and then select “Used” pricing. Your used book results page should deliver several pages of book listings for sale right now.

Don’t be surprised if the first few books are priced a $.01. Scroll down the page. If by the 5th or 6th listing you start to see pricing rise up to $6, $7, $10 dollars, keep it and list it for sale later. You’ll earn anywhere from $3 to $7 each when these sell. If you see the first two pages containing nothing but $.01 books, then place your book in the “Yard Sale” box to the side of your chair. Click back to the Amazon homepage. Pick up the next book. Repeat until you’re finished.

Step 6 – When you’re done, your “Keep” box stack will be quite small compared with your “Yard Sale” boxes (yes, you will have more than one by now!). Pack those boxes tightly, tape them up well with packing tape, and store them in a closet or corner of a room in your home that is dry, out of the sun, and has low humidity. When springtime comes and you hold a big yard sale to dispose of unwanted items, unpack all your “Yard Sale” fiction and non-fiction book boxes, set them out on a long table, spine facing up, and sell them for 25 cents to $1 each. On the final day of your sale, offer up a “bag sale” — that is, let people stuff a shopping bag full of books into a bag for $2. You’ll be amazed how many books will fly off that table!

Step 7 – When the yard sale is done, take the remaining fiction and non-fiction books to your favorite local non-profit thrift store or church charity shop to donate them. These old books often have a long lifespan, kept alive by browsers who frequent these stores looking for bargains and wanting to help support the non-profit. Ask the store manager if you can get a donation tax receipt before the books get unloaded. I have done this in the past, and I’ve gotten a generous tax deduction on books I would otherwise have had to haul off to the recycling center. Remember first to dispose of any soiled, moldy books, otherwise you’ll be burdening the charity shop instead of helping them.

Now, somewhere in the steps between when you checked the online price for your used books and you haul the unwanted old books off the charity shop, you’ll want to keep busy in your spare time by listing the books left over in your “Keep” boxes at online websites to raise extra cash.

I recommend listing on the Amazon Marketplace, then expand to other websites if you need to. Start slow, learning how the system works, and price your books competitively to move them quickly.

By considering the sales rank of your book, you’ll have a fairly decent idea of how quickly it will sell. If it is in the top 100,000 of Amazon sales, it should sell within 1-3 months. If a title is selling used for $7.50, price yours at $6.99. If a title is selling used at $20 or more, drop yours to $12-$15 for a quick sale.

My advice is that you not list your “Keep” books at less than $5.99, as you won’t earn much more than $2 each, and you’ll be running yourself ragged running back and forth to the Post Office. Likewise, I would not bother posting a book that has a sales rank above 5 million, as this book likely will add to your clutter forever, instead of leaving your home more open and less crowded — your ultimate goal in your home improvement housecleaning exercise in the first place.

Book Trailers: Compiling & Arranging Elements for Effective Results

In book marketing, there are numerous promotional avenues. There’s Facebook, media interviews, book signings, book tours, news releases, and speaking engagements. These approaches are straight forward and rely on communication skills found in most writers. Book trailer is an animal of a different sort. It demands an assortment of skills and resources, mainly condensing the story to its most tantalizing elements and embellishing it with photos, videos, text, voice over, sound effects and music. It’s complicated, time consuming task, and if you hire someone, very expensive. Yet with some simple strategies, guidelines, and resources you can produce an effective video with little or no money. That is, if you have a video camera/smart phone and an editing program, things you likely have already and don’t know it.

Defining Goals

First, let’s look at what you want to accomplish with at book trailer. In general, you want to promote book sales. However, being more specific you want to hook the viewer with unique and enticing information so they will watch the entire video. If you lose them before you’ve completed your pitch, there’s little chance of a book sale. As such, you require new and fascinating information throughout the video, information that not only holds their interest, but moves them toward buying your book.

Another goal is to make your trailer shareable, that it moves on from your initial viewers to their friends and followers. If your video resonates, it’s possible it will spread beyond your contacts. It could have an afterlife that spreads exponentially through social media. If you ask, you get. So, it makes sense to make this request, please share, toward the end of your video.

Compiling Elements

What types of things go into a book trailer. Normally, trailers answer potential readers” questions such as: what’s the book about, what’s the genre, is it any good, plus something about the author. Such things are usually found on the inner flaps of the book or on the back cover. If not, the following template used by producer Nat Mundel to create loglines that land movie and TV deals will help in that regard.

TITLE OF BOOK is a GENRE about NAME OF PROTAGONIST, AGE, ONE OR TWO VIVID WORDS DESCRIBING THE CHARACTER who wants HIS/HER IMMEDIATE GOAL. When THE INCITING INCIDENT happens and ONE MAJOR PLOT POINT, he/she goes on a journey to ACCOMPLISH GOAL and discover/realize/find THEME.

The above template is a great starting point to help you distill your book down to two sentences. It clarifies the genre, offers a mesmerizing shiny object that grabs their attention, and provides enough to leave the reader wanting more, all in a few brief sentences.

A logline is a one or two sentence description of your story that boils down its basic premise in a way that’s concise yet evokes emotion in your reader. It highlights what is most unique about your book. Specifically, the logline provides the author with a way to focus on the three main anchors of their writing.

Who is the protagonist?

What do they want?

What is at stake?

Once you have the logline sketched out, look for some escalation in the book that ups the stakes. It could be a confrontation or complication that takes the story in a different direction. The outcome should be unclear. It could also be the discovery of a new evidence, a red-herring, or a revelation that gives hope to reaching the goal. This section presents an emotional argument for buying the book and sets the hook before the prospect is reeled in. Most importantly, it sets up a question in the viewer’s mind about how this story continues.

The next section is more specific. It could be a brief discussion about the character traits of one of the main characters and how this reflects on the story. This might include character faults, misplace dreams, or foibles of the heart. It answers the question why. It could also be about the location or period of the story and what effect it has on the characters. Another consideration is the social or morale setting and how this affects the direction of the story. This section pulls the viewer deeper into the story, both emotionally and literally, asking the question, “Why did this happen?” It can also facilitate a love-hate polarity that further draws the viewer into your story.

The last section is closing the sale. By using adjectives commonly found in reviews it could imply the benefits of reading your book. It could present some additional arguments such as testimonials, reviews or awards. Being on any best seller list likewise deserves mention here. Acknowledgements for use of photos, videos and music are also shown in the section. You should also make a request to share this video. The most important part of this section is stating prominently where the book can be purchased. Various images of the book should be used in this section to imprint cover art and book’s title.

You will note that each section provides new and revealing information. It pulls the viewer in, creating an investment in different aspects of the book. Primarily, it creates that pressing question, “How does this story continue?” And that’s the bait that hooks your viewer and causes them to buy your book.

While there are other templates, the above format serves fiction books well. It answers the questions book readers ask and provides the information in a straight forward memorable fashion.

Writing your script will be a major task in that it demands a different style of writing, one that is denser and more compressed. Your script should contain both the narration and the card or graphics displayed on the screen. You should know that narration spoken over images is processed easier and quicker than the graphics competing with it. Thus, words on the screen tend to be brief, short phrases or individual words designed to be memorable, imperative and engaging.

Narration, on the other hand, relies on the human voice-to emote, phrase, emphasize and resonate- to develop deeper meanings. Its task is to tell a complicated story briefly and compellingly; or to highlight characters, situations and conflicts. Writing has to quickly and powerfully present the “saleable” qualities of your story, such as the characters and conflict(s) while hinting at likely outcomes. It might also convey the tone, style, and quality of your book.

Narration should use a recognizable vocabulary, figures of speech, and accepted language. Also, avoid long sentences and complex ideas, as the viewer’s attention is split between images, graphics and narration. If there is dialogue that explains a crucial story point, allow the narrator to take on that character and for greater impact, post the dialogue on a white screen.

Avoid wall to wall narration as this will soon dim the viewers’ interest. To take its place and vary the content, mix in moments of sound effects, graphics and/or music. Likewise, consider the use of live video with sound as this will too enliven your presentation. In the closing section, some narration can be used to punctuate key selling points even with same information shown on the screen.

How you end your trailer is indicative of its success. Final impressions like the initial ones are of greater importance and more memorable. So, with what impression do you want your prospect to leave? What indication of finality would work? It could be a musical ending over the image of your book cover and its tagline. It could also be a sound effect used earlier that congers up a certain feeling. Another choice is the sudden, startling glimpse of the killer’s silhouette, knife raised ready to strike accompanied by a woman’s scream. Whatever your choice, you want the viewer to go away literally and emotionally wanting more.

Now that you have scripted your book trailer, you need to come up with visuals and sounds that embellish them. Visually, these could be text, photos, videos and visual effects. Sound wise, they could be dialogue, voice over, sound effects or music. These embellishments should tease the viewer’s imagination to where the trailer plays out in the viewer’s head more so than on the screen.

Before you start searching for images, define what specific embellishment you want and approximately where they will be placed. Such a predetermination will reduce your search time and help maintain the focus of your video. In doing this process, compile some sort of record keeping so the inserts are labelled as to location within your script and where they can be found. Some embellishments may have alternates, ideas that might work provided the right image, sound or music can be found. I would designate these alternative with suffix a, b, c, etc.

In a normal 60-90 second book trailer, who might have the following number of embellishment inserts.

Voiceover: 60 seconds, 100 words max; 90 seconds, 150 words max

Text, titles, captions & listings: 85 words

Photos: 12 photos + various photos of book cover used 4 times

Videos: 2 Videos; 1 stock, 1 live action (About 5 seconds each)

Sound Effects: 3 sound effects + transitions as required

Music: 3 tracks (could be from same selection)

Visual Effects: 2 for moving text; 8 for photo & video transitions

Many of these media inserts can be found online. Sites like unsplash.com, librestock.com, and gratisography.com offer high resolution images that you can download for free. Another site for free music and sound effects is YouTube.com/audiolibrary/. You can find free public domain video clips at archive.org. For music go to freestockmusic.com. You will need to create a free account and can download various types of music for free with no royalty restrictions. Other media resources can be found on Google by searching for royalty free photos/videos/sounds. Do not use copyrighted materials.

If you feel uncomfortable about using your own voice, you can use a professional voiceover artist as found online. There are numerous voices from which to choose and demos are available on each artist. For voiceover narration on the 150-word example previously mentioned, costs would be about $25 on sites like fiverr.com music & studio/voiceover services. A special script should be compiled for the outside narrator, which indicates how you want the narration and dialogue to be read or expressed. These directions should be placed in parentheses prior to the words spoken.

There are some media inserts you may want to produce yourself. Your book cover, for instance, may be shot straight on, from the spine angle, and upright/slanted. Closer angles on the book cover’s artwork may also be relevant to your script. Background for these book photos should be on neutral or white poster board with some shots allowing room for text.

Other images that create the essence of the scene can also be produced with photos or video. Such inserts should be ambiguous allowing the viewer to fill in the blanks. Examples might be: a fearful eye wondering what’s behind her, a sound of footsteps approaching, two hands lovingly overlapping. Other inserts might be the scream from an open mouth, a hand clutching a knife, two lovers moving away through a park, a freeway clogged with traffic, a back lit image of the menace, a shadow of a hand holding a gun.

These images and sounds can prod the viewer to use his imagination and the results are more persuasive than using realistic images. Most video cameras have excellent sound recording ability, especially when using an external mic. Therefore, consider using your camera as a sound recorder and capturing just the sound by hooking up only the audio connections.

You might also want to consider a behind the scenes video section relating to research, character creation, establishing a story location, or target audience. Images with voiceover might be author at computer: medium side shot, fingers typing, author’s face looking at screen.

Now that you have compiled and downloaded or captured your trailer elements, how do you put them together. Before you start the editing process, let’s look at the setup of editing programs. The main feature will be the time lines. This is where video/audio clips are laid in and cut to the desire length. There are additional time lines below used for narration, sound effects and music. In the more expensive editing systems there are additional time lines to layer in and sync up additional media materials.

Source materials can be downloaded from the web or capture off your camera. These items are stored in a project file and would include video clips, photos, sound effects, narration, and music. These items are placed into the time line in their proper location where text and titles can be superimposed on the visual elements. Additional adjustments such balancing audio levels, transition effects, and color balance smooth out the cuts and give it a professional look. When combined together these elements make up your book trailer.

There are numerous video systems available with vary capabilities and range from free on up. PC users can edit using Movie Maker which comes installed with Windows while Mac users can edit with iMovie. If not installed, they can be download for free from Microsoft and Apple respectively. The Movavi 14 is also available free from movavi.com or the Movavi 14 plus version goes for $39.95. The Pinnacle 21 editing system is available from pinnaclesys.com for $49.95. More elaborate Pinnacle systems are available at higher prices. Corel® PaintShop® Pro 2018 and VideoStudio® combination which edits photos, designs graphics and makes movies is available through paintshoppro.com for $150.00.

These editing systems come with tutorials schooling you as to their capabilities and operation. While the free systems come with basic editing features, spending a bit extra can offer more creativity plus more imbedded effects and media resources. It all depends on the complexity of your trailer and the quality you want.

Arranging Elements

Now that you have all your script and media elements at hand, you can begin the editing process, pasting them into your time line. But where do you begin. I would start with the element that is the most consistent, be it narration, visuals or music. In the example I proposed, narration would be the element that is least likely to change much. So, you would lay that in first. Be aware that you may have to add pauses or even quicken the pace. This can be done by either adding room ambiance or cutting out pauses between sentences. When you record your narration, record a minute or so of room ambiance without talking and use this to extend pauses.

Next, start adding your visuals that support or embellish your narration. The length of these visuals will depend on their complexity and the time it takes to read superimposed text. If the text complements the narration, then the visual time can be reduced. Avoid overwhelming the viewer with too much information. For emphasis, space the narration to allow the viewer time to concentrate on a lengthy or important text.

A device often used in infomercials is duplicating narration and text on a plain background. This ups the comprehension and makes the information more memorable. This also varies the flow and increases the viewer’s concentration. This device works especially well when text rolls out on the screen one word at a time, an effect possible on more elaborate editing systems.

There will be a tendency to overplay the images and text. Too much information muddies the waters. Remember that you want the viewer to imagine a great deal of the story. By hinting what the book is about, you let the story develop in the viewer’s mind. Utilize the idea that book readers have imaginative minds and enjoy filling in the blanks. It’s a good idea to slow the pace to allow time for important images and ideas to form in the viewers mind.

Try to have a couple of video clips in your trailer. These are usually without sound, yet the screen motion stirs up thoughts and emotions not possible with still photographs. They likewise increase the attention span and make subsequent information more interesting.

Pace is an important factor in book trailers. Too slow, you lose your viewer. Too fast and your information get lost. There’s a happy medium and it depends on relating new and interesting materials that engage the viewer. That’s why sketching out your script is so important, as it forces you to see your trailer as an informative and entertaining book talk on video. Your script allows you to see the progression of your story building, pulling the viewer into an imaginary world.

Avoid cheesy effects which distract from your message. Simple transitions like fade-in, fade out or cross-fades keep the focus on the trailer’s purpose, to create an awareness of your book and a desire to buy it. Keeping the clarity of this goal in mind determines the success of your book trailer. Sometimes, people become enamored with a certain phase or image that if lost would make the video stronger. Be conscience of this fault and seek outside consultation to rectify.

Use the same font throughout, but vary the font size. Be aware that your text will be read on computer screens plus mobile devices. As such, font size must be readable and this may limit the length of text placed on the screen. Rather than minimize the font size, extend the text to the next screen using ellipsis (… ). The font size of the text should be indicative of its importance. For instance, in the last section, the acknowledgements for use of images or music would be smaller than places where the book could be purchased.

When superimposing text on an image, delay entry of the text ever so slightly so the viewer’s attention is on the image first, then on the text. Such a delay ups the comprehension as you control where the attention is focused.

Selection of music likewise requires some guidelines. Be aware that your perspective book buyers are already indoctrinate by seeing numerous TV and film productions with music. Your tastes and sensibilities in music may differ from your perspective audience. It’s therefore wise to select music reflective of the genre of your book. If it’s a scary murder mystery, that’s the type of music that would support that type of story. The music has many functions. It can create mood and atmosphere, portray emotions, reference a time or period, or create unreal situations. Music can serve several purposes that are either important on the emotional side of the movie or help/enhance the storytelling.

Using wall to wall music diminishes its impact. Fade out your music at various points and replace it with sound effects. Then at the appropriate moment bring back the music to elicit a new perspective or emotion. In this way, by isolating the music’s entrance, you make it more effective and allow it to support a new idea.

To help smooth out your cuts, allow the sound to slightly precede the visual. This allows the mind to process one element at a time and also creates suspense as to what the sound means. These micro overlaps create that, “What going to happen next?” mentality that subconsciously pulls the viewer in deeper.

Subtle use of sound effects can create the proper atmosphere or instill a menace is present. Wind blowing through the leaves or the footsteps of an approaching mugger help prod the imagination to where the story becomes a fixation. In addition, sound effects help break up the sameness of media elements and create higher expectations about the book and its contents.

As you continue with the assembly process, you will note that adjustments and corrections have to be made. You’ll also find that certain sequences don’t work, they don’t move the viewer toward your goals. This is a normal part of editing. It’s like writing a book, where much of the time is spent rewriting.

Before you make big changes, save your file. Then prior to making changes rename and save the file. In this way, you have a backup should your file become corrupted. In addition, should you find that you prefer your original better and it only needs minor corrections, then you still have that version.

The last section is where you close the sale. You offer in text and/or voice-over more arguments for buying the book and where to obtain it. As I mentioned before, these could be a complementary statement about the benefits of buying this book using adjectives commonly found in reviews along with a listing of testimonials, review quotes and/or awards. Also shown in this section are acknowledgements for use of photos, videos and music. The most important part of this section is stating prominently where the book can be purchased. Various images of the book/cover should also be featured in this section. It also helps to place somewhere in this section a sticker-like graphic reading, “Share this Video.”

Once you have your final version completed, let it sit for a few days then come back to it with fresh eyes. Look on it as a book buyer and judge if it meets your expectations, that it strongly encourages the purchase of your book. If not make corrections. If it does, then pass it on to people who will give you an honest evaluation. Don’t corrupt their judgment with additional information. Simply state you want their response to seeing your video book trailer, whether it’s positive, neutral or negative. Request specifically what they liked or disliked. With this consensus, make adjustments as you see fit.

Distribution of Book Trailer

When your book trailer is ready for distribution, you still need to prepare copy to go along with it. For YouTube you should have a description of your trailer that includes the title of your book, author’s name, and what’s it about. To make your video stand out, write a unique description with a catchy, enticing headline. Likewise, add tags. These allow users to find your video by linking common words associated with your video. If done properly, such copy greatly increases the likelihood of finding your video on a Google or YouTube search and having your link opened. This description and information can likewise be used on other video hosting services such as Facebook and Vimeo. Check Wikipedia.org for complete list of video hosting services.

To upload your video to YouTube, follow the instruction found at wikihow.com/Upload-a-Video-to-YouTube. Similar instruction for other hosting sites can be found online. Some editing systems have programs that simplify this uploading.

There are also video syndication services, however their fees are beyond most authors’ budgets and when term payments run out, your video is removed. While posting them yourself is time consuming, it negates this problem and they remain on the Internet forever.

There are numerous other ways of getting your video seen. Facebook and Twitter postings with links to video with a brief description is one way. Also use LinkedIn updates with reference to your trailer and its location. Another place is reader forums pertaining to your genre or audience market.

Your own website is another place to not only post your video, it should likewise serve as a depository displaying more information about the book and a bio of the author. Also consider email distributions to followers, friends, acquaintances, and of course family members.

If you have an author’s page on Amazon, this is another place you can post your video. However, there are numerous restrictions which are posted at https://authorcentral.amazon.com/gp/help?ie=UTF8&topicID=200649570. On your author page, you can also share video interviews, book signing videos, and other videos with readers. Your videos should focus on specific features of your books or your experience as an author.

Also consider news releases, either email or letter, to journalist, book critics and book bloggers. Another good source is free or low-priced newswire services. It just a matter of filling out the form with the proper entries. Such postings can up your web presence as well as improve your Google ranking.

Most authors expect the trailer to pull in a lot of interest when actually, it’s all the efforts promoting it that do the heavy lifting. If nobody knows about your trailer, you can’t expect much. However, if a whole lot of people see your trailer, a percentage of them will end up buying your book. It’s a numbers game. Likewise, if you strategically place your trailer in all online/offline places where your prospective book readers hangout, good things happen. The desired goal is to get the viewer interested, either in making the purchase or in finding out more.

While this article covers the basic considerations in creating a book trailer, there is a great deal more to be learned. One way of increasing your knowledge is to look at book trailers available on the internet. You will discover there are numerous ways to create video trailers, whether it be through emotional implications, character driven, or story plotting. You might also consider a more impressionistic approach that strongly communicates the aesthetic of the book while only hinting at elements of the plot. Likewise, in using photographic/video-graphic images, avoid showing people, or at least not showing their faces in a clear way. You want your viewer’s imagination to build the characters as they would when reading your book.

By looking at numerous trailers, you will find editing techniques that will make your video stronger, like the slow zoom-in or the use of title cards. In particular, watch how the juxtaposition of images and/or music provides a feeling or thought different from what they emit by themselves. Also, be aware how pace, the unveiling of new and unique information, affects the degree of engagement.

While book trailers get few lifetime views and have notorious low conversion rates, they are superior on sales landing pages increasing conversions up to 80 percent. That might be the place where a book trailer best contributes to your sales. In addition, book trailers can make a lasting impression, they’re easy to consume, easy to share, and they stay on the internet forever. A book trailer can be a valuable addition to your marketing campaign, especially if your target audience, your potential readers view it. Homing in on that fact could reap huge benefits and increase your ROI.

In closing, it is better that your book trailer to be super simple, ultra-clear, and thoughtfully aligned with the imagery. The intent of the trailer is to illicit a sale, to get the viewer interested, either in making the purchase or in finding out more about your book. To do that, you must allow the viewer to imagine and collaborate in the making of your book trailer.