How important is a book title?

I imagine it's very important.

I just came across Lulu's title scorer.

Lulu titlescorer

Enjoy.

It was interesting that some of the best sellers didn't score so well. The Secret didn't score very well, but we all know it's a runaway seller.

What makes people buy a self-published book.

Reblogged by me because this is a mine field of information that the self-published author can't ignore.

The findings surprised me (which surprised me, because I was surveying myself). I found that I knew what made me buy a self-published book when it was in front of me, but not what put that book in front of me, unless I was browsing by genre (e.g. today I feel like reading a romance set in Ulaanbaatar: therefore I will now search specifically for such a story).

It was still hard to know what put those books in front of my eyes in order to buy them; to quote one of the commenters on that post – this is the thorny issue of “discoverability”. How will we find these books in the first place?

So I did the unthinkable, and asked some other people. I surveyed readers and writers alike, in online groups for different fiction genres of crime, fantasy and general fiction,  and more than a few other people who just like to talk to other people about reading and writing. I asked them what factors influenced them most when buying books – particularly self-published books and any other books which aren’t pushed by the major houses.

Their answers were duly collected and poured into a spreadsheet, one rainy morning when I was in my pyjamas, and can be split into 2 camps. Some answers relate to discoverability; others to what makes people buy a book once it’s already in front of them.

In this sample, there are 72 answers. Some people cited more than one factor they considered before purchasing, so regardless of the order in which they placed these factors, I gave them all equal weight.

Having said that, it’s safe to say that in the vast majority of cases, if the cover was amateurish, or unappealing, the book would never have made it to the 2nd stage of vetting, be that the blurb or the sample.

Here are some lovely graphs with my findings. In case you didn’t know, I LOVE graphs. (Although take it from me, they’re hard to cuddle when you’re trying to fall asleep.)

First, we have the overall results:

Overall, by far the most important factors were cover, blurb and the sample (for some, this was the first few paragraphs, through Amazon’s “Look Inside” feature; for others, the full chapters from the e-Reader sample download).

Your cover might be gorgeous. Your blurb might push all the right buttons for the hungry reader. But if there’s a mistake in your first 2 paragraphs, or the reader doesn’t like your style, then it’s good night, I’m afraid.

Several of those surveyed said they had bought self-published books because they had seen other examples of the author online – either from their blog, commenting on other blogs, or articles in magazines or journals. They liked what they saw and then went to see what else was on offer. This is precisely what we mean when we talk about online platforms.

In the case of Twitter (which is the platform most likely to drive me mad when authors simply tweet endlessly “BUY MY BOOK!! SPECIAL ### OFFER!! BUY IT NOW ###  TODAY TODAY!!!!!! (hashtag exclamation point))) – a few people said that they liked to get a sense of the author on Twitter, and then maybe look up their book. So it wasn’t publicising the book on Twitter which sold books: it was the author being engaging on Twitter on a more personal level.

Facebook was more likely to remind those surveyed to buy the book of an author they already liked, rather than introduce them to a book for the first time.

Finally, it was cover, blurb and sample all the way. Reviews mattered, but in different ways. An interesting point, made by some of those surveyed, was that they looked at the worst reviews first – 1* or 2* reviews only – because they found it easier to ascertain whether they were authentic, and because they felt they got a better sense of the book from people who didn’t like it, rather than the people who said they did. (Or gave it 5 stars because they are the author’s Mammy. See here.)

Price was also an unusual issue. There were 2 distinct views: those who made impulse buys (without reading reviews or a sample) under a certain price, and those who would never bought books under a certain price point, because they had no faith that they’d be any good.

There were also good indicators on what turned readers off  self-published books. Another post will follow on that. I bet you can’t wait.

Time for you to weigh in: if you haven’t already had your say, is there something glaringly missing from the above graphs which makes your buying decision for you?

Jan Hurst-Nicholson | August 3, 2014 at 11:22 am

I’m surprised the title doesn’t play a bigger part in selecting a book, especially after reading this.

n 1928 the publisher E Haldeman-Julius was considered to be a literary Henry Ford who had perfected the art of merchandising the world’s classics. In the previous 10 years he had sold 100 million copies of his cheap reprints.

He believed that in order to sell a classic piece of literature, it had to have the right title. He believed that the title must have some connection with the three subjects which most appealed to the ‘reading masses’.

1. Sex

2. Self-improvement

3. Attacks upon Respectability and Religion.

His motto — By their titles ye shall sell them.

In 1926 8 000 copies of Victor Hugo’s play “Le Roi s’Amuse’ were sold. He re-named it ‘The Lustful King Enjoys Himself” and 38 000 copies were sold.

Theophile Gautier’s “The Golden Fleece” enjoyed huge sales when it was re-titled “The Search for a Blonde Mistress.”

Scopeenhauer’s “Art of Controversy” was a dead duck until Mr Haldeman-Julius published it under “How to Argue Logically.” And De Quincy’s “Essay on Conversation’ sold like hot cakes when re-titled “How to Improve Your conversation.”

Always, for obvious reasons, it has been necessary to keep the reader in mind. Any change in title must be validated by the actual contents of the book. The change must serve, not deception, but enlightenment; the change must advance some particular information as to exactly the book’s contents. It would never do to re-title Chaucer’s Canterbury Tales, for example, unless the title were also to indicate that the tales were still in archaic verse.

He never altered the text in any way — just the titles. :)

http://www.masterkeymarketingwarriors.com/products/copywriting/haldeman-julius/FirstHundredMillion.pdf

Reply

http://tarasparlingwrites.wordpress.com/2014/07/31/what-makes-people-buy-self-published-books/

Are we going to see another Dot Com Crash?

I've just read Rebecca's latest email and it worried me. Is there going to be another Dot Com crash? What's going to survive? How will we market our books in the future? I've copied and pasted the article from her email below.

'The Dot Com Crash I predicted in What's Working Now magazine is on its way. Here are some things you need to know ... Anyone who told you recessions don't happen online was lying to you. The online economy works just the same as any othereconomy. It has cycles. None of your online gurus have warned you about this, because they don't KNOW this. Most of the 'veterans' of online marketing have only been marketing online since the mid 2000s ... WAY after the last Dot Com Crash. The only people you know who can help you navigate this WHEN it happens are people who ran successful businesses online before 2000, and who were still running successful online businesses in 2001. Everyone else either doesn't have the experience to guide you, or they failed.  I was running a successful internet marketing business in 1999, and was still running successful online businesses after the crash. In fact, I helped start another online business after the crash that became the top business in its niche.  Below is a graphic of what happened yesterday with tech stocks. So what has this got to do with you? Tech stocks? You know.... Facebook, Amazon, Google ... If you market anything online this is relevant. If you're an author, this is relevant. If you're building a business based on getting Facebook leads, this is freaking CRUCIAL to understand. Facebook could go. Vanish. Cease to be. It happened to companies that were - relative to the numbers online - more significant than Facebook in the last crash.  When? Any time. Last time it took about 10 days to go from this to a slippery slope, and a couple of moths to crash completely. This time it'll probably take longer because the industry has so much more social proof behind it... but it'll crash. The feeling before the last crash was exactly as the feeling has been online over the last year.  THIS is why I've been SCREAMING for ethics and stable business principles. THIS is why I only work with companies that I know have the specific backgrounds that make them far more likely to be resilient in a crash than others. THIS is why I coach my clients the way I do. I don't care if they have shiny object syndrome. I don't care if they stamp their feet and demand the latest toy. I teach them how to run RESILIENT businesses, and how to build their BRANDS in such a way that they will stand tall when everything else falls.  If Facebook went away tomorrow, do you think people would still open my emails? Yes. Do you think they'd still answer the phone? Yes. Do you think I'd still get paid? Yes. So would many people online - temporarily - if they'd taken the time to build a brand. But after that, things would change. The people who actually KNOW what they're doing in the new normal will thrive. I've done this once. I know exactly how much things change on the flip side of what we're experiencing today. My clients and team members are safe. We'll be standing tall when the gurus who showed up after the crash fail to know what to do, and fall. Which group will you be in when the time comes? Rebecca.' Join-Rebecca.com  Join me on twitter: olgaolha or facebook: MysteryAndThrillerWriters Group The Deadly Caress on kindle