How to Publish a Book in 7 Steps: An Author's Advice

Even seasoned authors struggle with imposter syndrome and doubt themselves. That said, doing your homework is not a bad idea. Find out what books are similar to yours and find out if there is a glut in the market for that topic or if there is a need or hole in the market, and your book might fill a need.

The reality is that good books are not written; they are rewritten. That's why it is so important to work with an editor who can help you revise the book and take it to the next level, so it can become the best it can be.

Querying can be emotionally challenging and overwhelming for authors. Once you're in it, you're amongst a sea of probably tens of thousands of other authors at the same time, and there are, of course, only so many agents and agencies out there. Truthfully, the odds are not great; an agent will sign only about 1-3% of the authors they come across in their queries. This is why the query must be in tip-top shape: a query's only job is to make the agent curious enough to ask for pages. Then, they have to fall in love with the pages (the writing and the story, which are two different things) and have a vision for it in the current market.

If you go into it with the right mindset, it can make it easier. Expect to receive many passes; it's inevitable in 99.9% of cases. Your story isn't for everyone; no one's is. And there are so many reasons an agent might pass. Try not to take it personally; if they pass, then they were not the agent for you. You have to have thick skin though. Not every agent will reply, and if they do, they may give feedback or a reason they're passing or they may not. It's hard not knowing, but there's not much you can do about it. Agents are not paid for the time they spend on queries, and their top priority is the clients they already have, so unfortunately, queries often fall to the bottom of the priority list. And because we receive so.many.queries, it's very difficult to stay on top of them all. We simply don't have the time to respond to everyone. All you can do is do your best; ensure your query is spectacular so that it stands out, your pages are spectacular so agents see it as ready or nearly ready for submission to publishers, and research the agents and agencies first so you know you're shooting your shot with the most appropriate people in the industry. Follow their submission guidelines, don't cheat, and be friendly and professional. Get several pairs of fresh eyes on your query so you know it contains all the necessary elements (and doesn't contain anything that shouldn't be in it) as well as your manuscript, and make sure everything is ready before you begin querying. Being prepared says a lot about your work ethic, which is important to agents as well

It sounds cliche, but the only difference between those who find representation and those who don't is that the authors who found representation didn't give up. It takes patience, persistence, and perseverance. And it may not happen with your first completed manuscript, or even your second or third--but if your goal is to find an agent and be traditionally published, keep going. Keep learning, keep trying, keep connecting with other writers and industry pros. You've got this!

Don't be afraid to tear up your query letters and start again. Be aware of the time of year -- you may be going 24/7/365 but agents and publishing houses don't do that. Check out Writer's Digest articles on query letter writing and examples of winners and losers. Check out Query Shark. Understand the different agent types and editors at small presses -- different query styles may be required. Send queries out, mark the calendar 4 weeks from that date, and forget about them until then.

Query letters are not a sales letter about you -- you love your book, your letter needs to make anyone want to love your book as well. :O))

Check out writing blogs/websites such as those of folks like Anne R Allen or Janice Hardy -- or any author you admire -- their tips on query letters may include something you've never considered.

Start your next book... c'mon! You might be surprised what's waiting to pop outa your head!

Querying is so tough these days! There's more agents than ever before, but yet imprints are folding, combining, etc. so the number of projects being sold hasn't increased, making it harder to catch an agent's eye.

There may be any number of reasons you're not getting full requests--your query letter doesn't capture the unique quality of your book making it stand out, your first pages fall flat and don't pique the agent's interest, or, quite simply, the agent isn't interested in your characters or plot. And there's nothing you can do about that last one. Every book isn't for every person. Every agent has meh topics they rather not read about. If an agent isn't into mermaids, they're unlikely to request a full from a query that describes a book about mermaids. That query was never going to land a full, and there was absolutely nothing about the query or your writing that could have changed that.

So, concentrate on what you can control and push aside the rest. Querying is not a comment on your worth as a human or as a writer. Publishing is a fiesty marathon. If your current project isn't getting bites, write the next thing. You'll improve with each project. Trust that the stars will eventually align when your idea and words will pack a punch. How can you make your project stand out as unique? What tropes can you put a spin on? Create characters we can't help but root for. Lean into what you--your background, your hobbies, your experience, can bring to a project that springs it to life in a way that can't be replicated.

But above all, know that it's not just you--the struggle is real for many, and the only thing you can do is simply keep writing.

Don't lose faith!

I know that's easier said than done but try not to let rejections get you too demoralized. Most best-selling authors had the same struggle and likely went through many rejections before securing a deal. Unfortunately, it's all part of the process.

If you are getting form rejections then it is likely you are either choosing the wrong agents or there are issues with your query pack, so make sure you put as much work as possible into researching who you want to pitch to and refining your documents. Don't rush into querying. This is your one shot to catch the attention of that agent, so you want to get it right.

If you are getting requests for your full manuscript then you are likely on the right track and have a good submission pack. Don't be afraid to ask for feedback, but agents are very busy so you may not always get it.

I would also encourage you to keep writing while querying. Authors often get their second or third book picked up instead of the first one they queried, so don't lose hope. If you are tired of the rejections then use any feedback you have been given to write something new. There are no guarantees, but keep working at it and hopefully you will find your perfect agent eventually.

Finally, be kind to yourself. A rejection doesn't mean your book is rubbish - it just means that the agent can't see a place for it at this point in time. Many, many, many brilliant books have been turned down initially and then had great success when they found the right home. Don't give up hope.

I define a developmental edit as a comprehensive review of a book’s strengths, weaknesses, and opportunities for revision. With your manuscript, I’d read it and consider its pacing, plot, character development, voice, and other building blocks of storytelling. After reading the draft, I’d deliver to you a detailed editorial letter (no shorter than 3,000 words). The other "deliverable" from this service would be a detailed annotation of the manuscript. Using Track Changes, I would point out in-text examples of what's working, what's not, and potential paths forward as you continue shaping the manuscript. I find that this tool can be especially helpful for authors who want specific examples identified for them throughout the text. My expectation is that these two deliverables can help you improve the current manuscript while also adding to your knowledge base long-term. Hopefully, they’ll be resources you can revisit again and again.

A nose-to-tail structural edit of your manuscript for authors who have taken their book as far as they can by themselves.

1. Detailed recommendations to improve “big picture” concerns like characterization, plot, pacing, setting, etc.;
2. Specific guidance on elements of writing craft;
3. In-line suggestions and edits in the manuscript.

A developmental edit includes an analysis of what is working and what still needs to be improved regarding big-picture issues like pacing, plot, clarity, setting, telling vs. showing, character development, etc. I provide suggestions for improvement directly on the manuscript using track changes in Word. I also include pages of editorial notes regarding what still needs to be improved and I provide suggestions on how to improve these issues. I am also always available for Zoom chats before, during, and after any edits are provided. And clients may contact me at any point in the process regarding any questions or concerns, even after the collaboration has officially ended.

My developmental edits include two parts: line notes and a letter.

The line notes point out any strengths or issues that arise as I read. For full-length books, generally, these line notes will even out to about 1-2 per page, though some pages may have none, and some pages may have many, as needed. For shorter pieces and picture books, I typically include many more line notes per page, depending on what is needed. When I notice a repeated problem, I discuss it in my overall letter rather than commenting on every instance. These line notes are meant to educate authors and help them become better writers, not "fix every error" as a copy edit would.

For full-length books, for the letter, I normally include:

1. An introduction discussing the book's high-level strengths and opportunities for improvement.
2. Sections discussing structure/plot, character, setting/worldbuilding, romance if applicable, target market (age category, genre, and comp titles), title, and style.
3. A conclusion with key next steps to focus on for the book.

These letters are lengthy, generally in the ballpark of 3,000 words (10-ish pages), and come with a table of contents.

My letters for shorter pieces and picture books are shorter and less formal, though they include roughly the same sections.

My developmental edits also include back and forth via message for 6 months after the project is complete. I love to brainstorm and talk through issues!

I work on picture books, novels, memoirs, and non-fiction, so I have a lot of different approaches in my pocket, ha. For picture books, it is much easier to do multiple rounds of edits, and most of my clients choose a multi-round package. That means I move from overall feedback down to line notes as the project progresses. I try to take a similar approach to longer projects, though I don't always get to see more than one draft. I'll often include taking a second look at a short excerpt--normally the beginning--in my editing package.

In term of client expectations, if I've done my job well, these will be clear before we even start working. I am constantly tweaking the language in my sales messages and offers to clarify issues that have come up with clients in the past. I am fairly flexible in changing my approach depending on how the client likes to work. For example, one client of mine prefers to talk through all of the changes in her picture book on the phone. That's pretty rare these days, but it works great for her, and we have a lot of fun on our phone calls!

Each genre has an expectation from readers, so I edit according to the target audience and what they will expect based on the genre, title, and type of book, whether it is for children or adults, non-fiction or fiction.

Non-fiction readers of self-help, for instance, are looking to grow and learn. So I will edit this type of book for clarity, pacing, and whether or not it provides new information for readers that they are eager to learn. These types of books must also have strong takeaways and practical applications, since readers expect this from this genre.

A historical novel, a fantasy novel, or a sci-fi novel will need to allow for strong world-building. This is needed more so than in a novel that takes place in the present day.

So, having experience editing these types of books and keeping reader expectations in mind is what is needed here.

I find it really helpful to get a good sense of where the author wants their book to sit within the existing market. I like to ask them about who their target reader is, and what other books their target reader enjoys reading. Knowing that an author wants their thriller, for example, to sit on the more literary side of the market can really help guide my edits, and I can explain why I have made certain suggestions. Sometimes the process works differently, and I'll recommend a range of books I think the reader might find helpful to read, and they can tell me where they'd ideally like their book to 'sit' within that range.

This is done in two ways, I think. The first is doing an adequate assessment of the manuscript to determine what edit the manuscript needs and what level: heavy line edit? Light developmental edit? Copy edit? Second, it's important to be clear in your offer to the writer about what your editorial plan is. A copy edit, for example, will include ensuring accuracy, consistency, completeness, and correctness, in accordance with Editors Canada's standards. If these terms are outlined in your offer, and your offer is based on some careful thinking about the manuscript's needs, it should be easy to meet the expectations since you set them yourself!

An important asterisk to this I suppose is making sure there is good professional chemistry between editor and writer. Hold a virtual meeting; get to know each other, if only briefly. It's worth it to put in this extra (yes, unpaid) time.

The best way to capture a client’s vision is to start by asking lots of questions. I like to find out not just about the story, but also about any concerns or fears they might have, what they do and don’t like, and how they want the book to feel on the shelf. Sometimes a video chat helps enormously to get a sense of their taste and personality.

If a client has a specific idea, I always do my best to use that and make it look professional. If I think the project could benefit from a different approach, I will suggest alternatives, but always as part of a collaborative discussion.

Stage one of my process is research and idea generation. I play around, try out unusual or even odd concepts, and see what comes from that experimentation. With every idea I present, I include variations in colour, composition, or typography so the client can see the possibilities.

Many authors actually do not know exactly what they want, and that is great too. In those cases, I cast my visual net wider, presenting lots of ideas and styles to see what resonates with the book. Once we have settled on a direction, the refining and to-and-fro can take several stages to resolve. Getting every detail right on the spine and back cover is equally important. From there, we work together to shape a cover that is both creatively exciting and commercially strong.

Communication is key. Asking questions and asking for examples of favorite covers is a start.

After that I like to send a few different concepts. I like to make it clear that the first round is still like a shot in the dark and work in progress. Specially when the client is not sure what they want. The best way to understand what a client expectation is, for design and style, is to send a few different options first and start working from there.

If we are talking about a full color cover illustration I start with a flat rate for most quotes. This rate is calculated on many things, including, in no particular order: time, comparing market rates, my skill and experience, and rights I am agreeing to sell. I compare this against other things like complexity, exposure of images, any extras the client may be asking for including additional rights. I am also keeping in mind how this will translate to an hourly rate.

I have found that there is a fairly clear link between how much I charge and the quality I produce, which comes down to time. I like to read as much of the manuscript as the client will give me, ideally the whole book. If we add up reading the book, sketching and ideating, communication and negotiation with the client, assembling reference and photoshoots, painting the illustration, revisions, type and cover design, assembling the final files, billing (which Reedsy takes care of) and back end business organizing, then divide that by the total cost we get a rough hourly. This informs how many jobs I need over a given time.

In an ideal world I would work on an image until it’s done. In a world with deadlines and money, the more I charge the fewer jobs I need to work on at once and the more time, love and attention I can devote to the task at hand, which, for me, always yields better results.

When I price a cover design project, I think about the overall workload. Is it going to be a simple design with strong typography, or something more involved with custom illustration or heavy photo work? I also look at the research and creative time it’ll take to land on a concept that feels right for the story and the market.

I factor in the practical side too — like prepping files for different formats and making sure they’re print ready. And of course, the amount of collaboration and revisions an author expects can change how much time I’ll need to put in.

It comes down to the mix of creative effort, technical work, and how much back-and-forth is needed to get the perfect cover.

A fee for a book cover depends on several project-specific factors. The main things I always consider are:

1. Scope of work
2. Front cover only, front + back + spine, or full jacket.
3. Title layout and typography or illustration only.
4. Multiple sizes/versions for different book formats
5. Concepts and revisions
6. How many distinct cover concepts you want.
7. How many revision rounds are included. More concepts and revisions increase the price.
8. Complexity and style
9. Highly detailed art, many characters, complex scenes take more hours than a simple illustration.
10. Rights and licensing
11. One-time personal use, a limited exclusive license, perpetual rights, or a full buyout. Duration, print runs, territory and product types all affect the fee.
12. Deliverables and file prep
13. Print-ready PDFs, alternate crops, font handling, color conversions and work-in-progress images for marketing are billable.
14. Turnaround and rush fees
15. Tight deadlines require reprioritising my schedule and cost more.
16. Client type and opportunity
17. Trade publishers, self-publishers and projects offering strong exposure can be priced differently.
18. Extra costs and risk
19. Font licenses, platform fees, taxes and production risk are considered.
20. Time and opportunity cost
21. How many hours it will take and what other paid work it might replace.

Based on that, a simple pricing formula would look like this:

Estimated hours x Hourly rate + Platform fees/VAT + License fee + Rush/add-ons + Extras = Total fee

I like to be flexible with my clients and I’m happy to do all the behind-the-scenes math while explaining what is included and offering different options to find a fair solution that works for both of us.

When I calculate the price of a book cover, I think beyond the hours it will take me to complete. A cover is the first impression a reader has of a book, and creating one involves much more than simply placing an image and a title together. It’s about translating the spirit of the story into a visual form that resonates with the right audience, and that process varies greatly from project to project.

One of the first considerations is scope. Some authors need only a digital front cover, while others require a full wraparound design for print, with spine and back cover included. There may also be requests for interior design or promotional graphics to accompany the launch. The nature of the design itself also plays a role: a cover built with custom illustration or hand lettering demands a very different level of time and artistry than a cover that relies on photography and an existing typeface. Both approaches can be powerful, but the amount of originality and craftsmanship involved inevitably shapes the fee.

Research and concept development are another invisible yet essential part of the process. A historical novel might send me digging through archives for visual references, while a contemporary title often involves exploring cultural trends and building moodboards. This stage is where the design starts to take shape, long before a single line or color is put on the page.

Revisions are also part of the calculation. I usually include a few rounds in my fee, so the author has room to refine the vision while keeping the project on track. Usage and distribution matter as well — a cover for self-publishing on digital platforms has a different scope and licensing implication than one created for a major publishing house with wide international circulation. And of course, the timeline can affect the price: a project that requires me to reshuffle my schedule to meet a tight deadline is not the same as one with more breathing room.

For this reason, I usually work on a flat project fee, tailored to the complexity of the book. A cover with custom illustration, bespoke typography, and full wraparound design will naturally fall on the higher end of my range, whereas a photo-based cover with lighter adjustments will be priced more modestly.

Ultimately, I view pricing as a way to ensure respect on both sides. The author gains clarity and knows what to expect, and I can dedicate the time and creative focus needed to do justice to the book. A strong cover has the power to become inseparable from how a story is remembered — and its price reflects the care it takes to create that.

When I calculate a rate for a book cover design, I take several factors into account. The subject matter and target age group can influence the amount of research and concept work needed at the outset — some projects require deep visual exploration, while others are more straightforward.

I also consider whether the design will involve illustration. That might mean creating the artwork myself, commissioning and art directing another illustrator, or combining photography and illustration, each of which carries different levels of work.

Practical elements also play a part: how many editions are required (for example, hardback, paperback, eBook), whether it’s a standalone or part of a wider series brand, if a series branding needs designing, and the level of Photoshop work or complex typography involved. Some effects in Photoshop take some time to get the feeling and atmosphere across, some simple typographic concept led covers may look easy, but they are in fact the hardest to finesse.

All of these details help me gauge how much time, creativity, and collaboration a project will need, and I set my fee to reflect that.

Something I have seen quite a lot lately in the self-publishing world: trying to do everything by yourself. Thinking that you just need Photoshop to make a cover, spell-checking software to edit, a dictionary and a bit of knowledge to translate. Never underestimate the value of a human professional who has spent years studying and then honing their skills. There is more to translation than substituting one word with another, just as there is more to a cover than a bunch of drawings and a title.

Find the right professional for you and your project, and work closely with them; you won't regret the expense, I promise. Also, yes, some types of stories and tropes are very popular right now, and those seem like a safe bet, as far as marketing and selling go - but likely there are a lot of similar books out already. In traditional publishing, variety is sorely lacking, because a tried and tested product seems safer; let's avoid repeating that mistake. Write the story that's in your heart and then strategically find your niche audience. You'll find them starved for exactly your flavour of creativity.

One of the most common mistakes I see with self-published authors is setting unrealistic timelines for their publishing journey. Many writers plan their schedule far too tightly and only reach out to professionals—whether editors, designers, or marketers—at the very last minute.

This creates unnecessary stress on both sides: the author feels rushed and overwhelmed, while the professionals either have to decline the project or take it on under less-than-ideal conditions. In the worst case, authors struggle to even find available professionals because their preferred timeline doesn’t allow for the necessary lead time. Many professionals book out months in advance, so it’s wise to plan at least four months ahead—and in many cases, even that may not be enough time.

It’s also important to remember: as self-publishers, you are free to set your own pace. Unlike in traditional publishing, there is usually no external deadline or audience impatiently waiting for the book—especially when it’s a debut. That pressure often comes only from a self-imposed timeline. Instead of rushing, it’s far wiser to take the time to do everything properly, work with professionals without stress, and then launch the book when it’s truly ready.

Publishing a professional-quality book requires space for collaboration, revisions, and creative breathing room. When timelines are compressed, the process becomes about “getting it done” rather than “getting it right,” which can ultimately compromise the quality of the finished book. A thoughtful, realistic schedule not only reduces stress but also ensures that every stage of the process—from editing to design—has the attention it deserves.

One of the biggest traps authors fall into when self-publishing is thinking that the hard part ends once the book is written.

In reality, self-publishing is as much about production as it is about creativity, and overlooking that side can leave even the best manuscript looking unprofessional.

I’ve seen too many writers skip professional editing, try to design their own cover, or leave marketing as an afterthought, and the results are usually disappointing. But just as important, and often less discussed, are the mistakes around the actual printing and publishing process. Authors frequently go with the first printer they find rather than getting at least three quotes, which is a sure way to overpay.

Others don’t ask whether VAT will be added on top of the quoted price, only to discover the true cost later.

Perhaps the most heartbreaking mistake is not asking to see samples of the paper and materials being used; the author waits excitedly for their book to arrive, only to be handed a flimsy volume on cheap stock that feels nothing like the work they poured their heart into.

The truth is, self-publishing is about producing a product as much as sharing a story. Taking the time to ask questions, compare options, and insist on seeing exactly what you’ll be paying for can mean the difference between a book that looks like an amateur project and one you’re genuinely proud to hold in your hands and which reflects the hard work you have put in as well as the hopes, naturally enough, of your client to hold a book in their hands which is a quality item.

I've read a fair number of self-published books, and one thing I have noticed is that an unprofessional interior book design does impact my reading experience.

Interior book design is about all that invisible work that makes a book visually pleasant to read. If the lines break poorly, if the font is too big or too small, if the line spacing is too tight or too loose, if the font selection is one that's difficult on the eyes, especially after reading for a long time--all of this will subtly make your reader tired while reading, and, perhaps subconsciously, less likely to enjoy reading your book. They might not even know why! And by the end, they may be left with this feeling that they didn't want to pick up the book to read it as much as they have other books, which is not a feeling you want your readers to have, especially for something so easily fixable.

A well typeset book is unnoticeable. That's the point! Your reader doesn't notice the words on the page. Instead, they glide over them, immersed in the story. But a poorly typeset book stands out. Your reader's attention is pulled from the story again and again because the words are too squished together to read easily, or because there was one dangling line all by itself on the last page of a chapter and that looked odd, or because the font for the text messages was inconsistently applied.

Interior book design is an important part of the publishing process that I think a lot of self-publishing authors overlook.

Two mistakes I've encountered through my work with self-publishing authors are definitely common, but perhaps not super obvious at first thought.

Mistake #1: Hoping to ultimately publish with a traditional publisher, but self-publishing first as a means to “test things out.”

Self-publishing should be a conscious and very intentional choice that you make because the process appeals to you, not something you do as a test drive. Once it’s published, it’s published. In fact, as a former slush pile evaluator, I quickly learned that a previously-self-published submitted manuscript was often a no-go for the publisher I worked with. Why? Well, any self-published copies of the book that had been already sold are sales the publisher might have otherwise been able to count on — chances are, if you’ve self-published your book, you’ve already gotten all your friends and family to purchase a copy. Those are all opportunities for sales no longer open to the publisher. So, if you want to self-publish, that's great! But make sure that, whatever you decide on, you're making an intentional and conscious choice.

Mistake #2: Consider your use of copyrighted works and get permission!

This applies to nonfiction and fiction works alike: If you are including previously published content in your book, do your research and understand what may require permission to use. If you're including lengthy quotations or extracts from books, short quotations to open your book chapters (i.e., epigraphs), song lyrics (yes, even just one line of a song), poetry, or photographs/artwork, you will need to seek permission clearance from the copyright holder to legally include that content in nearly all cases. I can tell you, based on several years of experience in permissions editing, that the process of figuring out who the copyright holder is, applying for clearance, hearing back, and finalizing the clearance can take MONTHS. And you may not even be granted permission, after all that effort! It can also be very expensive — publishing companies and record labels especially will charge you per usage and based on the amount you've used. So, do your research, know the risks, and decide accordingly.

The most common mistakes authors make when self-publishing are: 1) Not focus-group testing yout title and subtitle, Check with Amazon for duplicate titles, and ask friends/colleagues 2) Not obtaining at least 2 endorsements, for front and back cover. 3) Not creating a publisher name for themselves Amazon. If you publish under your personal Amazon account, the "publisher" will be listed as "independently published," which can erode credibility. Instead, set up your KDP account in the name of a publisher you invent. There are many more, like poorly-designed covers and interiors, but these are of the most overlooked.

Common mistakes:

Unrealistic or distorted view of public interest (Harsh, I know.)

Family and friends aren't fans--neither are paid reviews. It is important to be as objective as possible when assessing your book's popularity. I say this because many indie and early-stage authors believe they need what NY Times BEst Selling authors need, and that can lead to a lot of wasted time and money.

Acting as your own publishing company

It may seem like creating a separate name as your "publishing company" but the reality is, you don't yet have a company. This can be misleading to actual publishers that may be interested or contribute to the mistake mentioned above. These days, authentically doing everything on your own is more appealing to readers and publishers than the "fake it 'til you make it" strategy.

Starting a blog

If you aren't ready to commit to a regular schedule or writing blogs in batches, you don't need a blog on your website. Focus more on a simple and clear website and point of sale, then drive traffic to it. A blog isn't going to get you traffic unless you treat the blog itself as a business of its own.

I'll base my answer on Amazon, where majority of sales happen for most authors.

Book Cover

I'm aesthetically blind, but I still have a couple of valid criteria - readability and fitting a genre. On Amazon, your book cover is your business card. People need to get what it is about with just a single glance. Don't try to be smart, try to be clear.

In non-fiction, it usually means a huge title that can be read in a thumbnail size. In fiction, it is a big image that screams the right genre (think dragons for fantasy, starships for SF).

Book Title (and subtitle)

In case of fiction, the title may be catchy and cryptic, but it needs to be short. Often, it is just an article and a single word.

In case of non-fiction, you'd better spell out in capital letters what your book is about.

For all books, subtitles are a great place to stuff in some keywords ("a medieval historical novel").

Book Description

Your book description is your sales page on Amazon.

It is not a synopsis, God forbid!

For fiction, think Hollywood movie trailers - something that reveals hints of the movie, but its main objective is to get the attention.

For nonfiction, spell out the features and benefits, but in a way that pique curiosity (“The undervalued habit that everyone can practice and tune into their self-talk (would you believe it can create new brain cells?!)”.

Emphasize your credentials in book's subject matter.

Format your description properly. Have a clear headline - the first short line (think: blog posts titles) that is separated from the rest of the blurb's text. And don't scare a reader with "the big wall of text." This is Internet! Nobody reads huge paragraphs anymore.

Keywords

On Amazon, you have seven fields with 50 characters.

Use five of those to brim. Why? Because the interface doesn't reflect the mechanics of Amazon keyword system. Those "seven fields" are actually a one huge tag cloud. Any word from one field can be connected to any word from another field.

Use one field to give the clear 'elevator pitch' for a book ("military space marines book”).

Use the word 'book' in this field. It will connect with all the other words in your keyword tag cloud.

Use the last field trying to indicate the category your book fits best.

Categories

12 years ago, it was a good idea to hit some niche category, so you could easily claim the bestseller status. Not anymore. Relevancy is the key. If your book is fiction, don't put it in obscure non-fiction categories (and vice versa).

The more specific you can get, the better for your positioning and algorithm's understanding of your book, e.g. Romance ->Historical Romance ->Scottish.

Bonus: Pricing

Don't price your 100-page novella eBook at $9.99.

If you have a fiction series, price the volume #1 lower. It is your lead magnet, if readers like it, they will buy next volumes at higher prices.

Your book cover is the first thing readers notice, and it has to grab their attention right away. But here’s the thing: your cover gets them to click, but it’s your description that actually convinces them to buy.

A great book description needs to spark curiosity, set clear expectations, and connect with readers emotionally. If it doesn’t make them feel like they need to read your book, they’ll move on to something else.

Other details, like editorial reviews, awards, or even strong reader reviews, can help seal the deal, but the description is where it all happens. Think of your cover as the invitation—it gets readers to the party. Your description? That’s the host that keeps them there and makes sure they have a great time.

Take advantage of every single opportunity that comes your way in the beginning. Don't be too picky. If the front door is locked, go in the side door. Or find a window. I had great luck with blind queries in the beginning and that was before email, kids. I built many relationships that way, and most of all, keep believing in your talent, be agile, be diligent, and above all LEARN HOW TO SELL YOURSELF.

If you are a non-fiction author you can use your book as a platform to get speaking engagements even before your book is published. Once it is published, ask the business you are speaking for to purchase books for each of the conference attendees and then include this purchase in your speaking "package."

If by "best," we mean "fastest," then self-publishing is the way to go, since there're no gatekeepers, meaning no wait time. As soon as your book's done, you can get it up for sale. But if we mean best as in "long-term for your career," that becomes a fuzzier proposition because you need to weight the wait time, rejection, potential rewrites/edits, and possibility of never having something accepted inherent in traditional publishing against the prestige that still comes with making it into that world. It also depends what level of control you want for your work. You obviously get much more with self-publishing, but perhaps you'd benefit from the edit you might get from an editor at a legacy press. Lots of variables here, but my advice is always to be honest with yourself regarding your goals.

Legacy prestige is great and all—and, if it goes well, can be much more lucrative—but there's a lot to be said for having full control of your product.