LDSPMA

Empowering Latter-day Saints to spread light and truth by connecting them at the intersection of faith, creativity, and professional skill

Professional Skills

A Quick Primer on Starting Your Own Home-Based Business

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By Amy Collett

Entrepreneurship is a lofty goal, but one many aspiring business owners can easily reach by starting small with the home-based business. By getting your venture established in this manner, you can maximize flexibility and minimize overhead. But how do you get started? Is it really possible to market yourself and make money? Answers are found below.

In the Beginning

One of your first steps before applying for your business license or putting up a website is to determine what you want to do and what type of business structure you’ll have. Most home-based businesses are run as sole proprietorships. However, if you need to protect your personal assets, you may want to establish yourself as an LLC.

Next, take a look at your funds. When you do not want to dip into your savings, you have plenty of options from the Small Business Administration Bridge Loan program to raising funds via friends and family. Financing your business venture can give you working capital to buy inventory or equipment. Further, by not dipping into your personal nest egg, you won’t be quite as stressed out about money, and you’ll have cash in hand to reach your professional goals. There are non-governmental funding sources available as well, and Zen Business notes that many larger companies have even taken it upon themselves to provide grants for SMBs.

Getting Started

Now that you are ready to go and have the funding to do so, you may want to look into hiring a helping hand as you establish yourself as a leader in your industry. The type of assistance you need will depend on what you do. If you are a book writer, for example, you’ll want to find an experienced editor, and the Latter-day Saint Publishing and Media Association notes that you can start by looking for recommendations from other writers.

You might also need help with administrative, technical, or other tasks outside of the scope of your expertise. In this case, hiring a freelancer may be a smart choice. First, an independent contractor will cost you less overall, even if you have to pay slightly higher hourly rates. But more importantly, you will have access to a global platform of people with the types of experience you need. There are downsides, however, and it makes sense to review the pros and cons of hiring freelance help before you recruit.

Customers Are Key

One of the most intimidating aspects of running your own business is putting yourself out there and finding customers. It requires a high level of confidence, and you have to be ready for rejection. Start by developing a plan, which might include scouting for potential clients on social media or sponsoring local events to draw attention to your business. Make sure to price your products or services competitively, taking into account everything from your local economy to the value that you bring. You do not necessarily have to be the least expensive option but the one that provides the very best for the money.

Once you begin bringing in customers, remember the importance of customer service. No matter what you do, there will always be competition, and if they are perceived as more customer-centric, you can bet that is where consumers will go. Focus on quality, and remember that getting things right the first time is the best way to make a good impression. This, in turn, will convince your customers to tell their friends and family about you, which equates to more revenue.

The above tips can help you get started. Ultimately, however, the success or demise of your business is something only you can determine. It might be a daunting endeavor, but entrepreneurship is one that comes with many benefits—ones that you have to experience for yourself to appreciate.

7 Steps for Hiring a Good Editor

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By Victoria Passey

  1. Understand the different types of editing.

There are several types of editing: content/developmental editing, substantive/deep-line editing, copyediting, and proofreading, as well as edits for style guides and fact-checking. Together, they create a funnel of sorts, progressively narrowing down to your finished, publication-ready manuscript.

Since there are many different terms for the different phases of editing, we’ll simplify them into four major categories so you can determine the type of editor you need for each phase of your project. 

  • Content editing takes a big-picture look at your manuscript. This stage reviews your manuscript’s major strengths and weaknesses regarding plot issues, organization, pacing, structure, etc.
  • Substantive or deep-line editing looks at your writing. The primary goal at this stage is to address the artistry, clarity, word economy, voice, and emotional impact of each sentence and paragraph (which can include any last little issues with the developmental points above, like pacing, dialogue, and rhetoric).
  • Copyediting is that final, fresh set of eyes where the editor catches any last issues that might trip up readers. This stage includes all the fine details, from clarity, to grammar and mechanics, to consistency issues and typos. Generally, it’s also concerned with style-guide issues, like bringing things in line with The Chicago Manual of Style.
  • Proofreading is a second quality control round and, depending on whether you are traditionally or self-publishing, will happen before or after a book is in the galley stage—when the interior layout is completed and it looks like a “real” book. You may also want a separate or related galley proofread, which addresses the aesthetics and consistency of your book’s typography.
  • Understand your budget and goals.

Your budget, goals, and publishing path will drive what kinds of editing will serve you best and how many rounds of editing your manuscript will go through. Sending your manuscript through each of the phases is the ideal for traditional-pub quality, but if you can’t afford it, at a minimum, you’ll want a developmental edit, followed by a solid copyedit. An experienced developmental editor can discuss the industry, market, and which editing phases would make sense for your genre and individual work. 

  • Search within your community.

Though it may be tempting to rely on online searches to find an editor, word of mouth is your best bet. Ask your writer friends (writing groups or other communities you’re a part of) for recommendations for editors.

Your editor should be vetted by the writing community. Look for strong reviews and community recognition or involvement.

  • Know the qualities of a good editor and of good feedback.

Your developmental editor should have a solid understanding of writing craft, particularly story structure, pacing, and character arcs. 

Your line or copyeditor should be very familiar with The Chicago Manual of Style and Merriam-Webster’s Dictionary because these are the standard guides for style and usage within the publishing industry. It’s also important that your copyeditor respects your authorial voice and has an impeccable understanding of modern grammar and usage.

The ideal editor will provide firm, honest, kindly phrased feedback—not just empty praise.

As an author, you want feedback that helps you improve your manuscript by giving you a candid look at its strengths and weaknesses. Empty praise may inflate your ego, but it won’t help you grow and improve as a writer.

  • Understand a developmental editor’s genre specialty.

It’s important that your developmental editor understand your chosen genre, especially as you progress in your writing career.

Any good content editor can edit and give feedback on general story structure and craft, which can be beneficial for writers who are just starting out, but as you progress in your writing career, an editor who understands your genre is increasingly important.

An editor who understands your genre also understands the tropes, audience expectations, and what’s already been done (what you’ll look cliché for doing) within that genre.

For example, if you want to become a well-known romance author, an editor who isn’t an expert in romance plot structure and doesn’t know the difference between romance subgenres isn’t the right fit for you.

  • Get a sample edit before moving forward.

Before you decide on an editor, ask for a sample edit of a short selection from your manuscript. A sample edit will help you understand the editor’s skill level, as well as how they’ll approach your work and your feelings as an author. Make sure to compare the different sample edits you get from all the editors you are considering. Price is not a good comparison point—if you don’t get a quality edit, you’ve wasted your money, regardless. 

By the way, most editors use Track Changes in Word to record their line edits and comments. Understanding this feature will ensure that you can view your editor’s notes and accept or reject their changes.

  • Discuss details.

Once you’ve decided on an editor, be sure to discuss the details of your project. Laying out the details (in a written contract) early on will save both of you many headaches later.

Some of the details you’ll want to discuss are deadlines, costs, payment arrangements, and a work-for-hire contract where your work is protected and the editor is under an NDA (nondisclosure agreement).

You should be able to discuss these details over the phone—either with someone in the company you’ve hired, or the editor themselves if they are an individual freelancer. And make sure you get it in writing!

Getting a manuscript ready for publication is a collaborative effort based on a mutual love of books, respect, and creative effort. If you and your editor respect each other’s time, effort, expertise, and vision, the resulting product—and partnership—will amaze you!

A few editorial recommendations to get you started:

  • Eschler Editing: This award-winning, experienced team of editing and publishing/promotion professionals has editors for most every genre and every type of editing—specializing in fiction and nonfiction (plus poetry, dissertations, essays, web content, etc.) Find them at EschlerEditing.com.
  • Joshua Essoe: Joshua is a skilled content editor who does sci-fi, fantasy, and horror, YA and adult, and their subgenres (but no lit fic, romance, or children’s/MG). Find him at JoshuaEssoe.com.
  • Josh Vogt: Josh is a highly experienced editor who can work with most fiction genres (though maybe not super-literary fiction, as he prefers plot-driven works); he also does gaming lit and loves speculative fiction. Find him at write-strong.com or joshrvogt@gmail.com.
  • Precision Editing Group: This experienced team of editors and best-selling authors tackles many genres. (They just don’t do poetry or dissertations.) Find them at PrecisionEditingGroup.com or editor@precisioneditinggroup.com.
  • The Manuscript Dr.: A team of story-savvy fiction editors. Find them at  TheManuscriptDr.com.

Mentoring Is a Relationship

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By Barry Rellaford

Reflect on a time in your life when someone believed in you, saw something important that you didn’t see in yourself, or gave you an opportunity to learn and contribute. Who comes to mind?

Perhaps it was a teacher. A family member. Someone you worked with. A Church leader or adviser. A sports coach, music teacher, or theater director. Maybe it was a leader of a writing workshop. Perhaps it was someone you interacted with for only a moment.

I’ve asked people around the world to engage in this simple reflection, and I’m constantly inspired and humbled by their answers.

The person you’ve thought of likely served as a mentor for you—someone who helped you develop your potential, especially professionally.

Mentoring is more than an activity; it’s a relationship. While the focus is on the performer’s development, mentoring brings benefits to the mentor as well. The dividends of mentoring relationships are much the same as in other high-trust relationships: increased confidence, improved results, greater positive energy, and true joy.

One of the greatest mentors in my professional life was Chriss Mecham, my supervisor in my first corporate job. She took a risk to hire me (I didn’t have the two years of corporate management development experience CompuServe was looking for) and rapidly gave me opportunities to understand and work toward achieving my potential.

But Chriss could be tough.

At one point, I was being a maverick, drawing attention and credit to myself. In a very direct and caring way, she helped me see that the work I was doing depended on an entire team. And instead of reining me in, she opened the gates, continued to extend trust, and gave me more opportunities to grow. I love and appreciate her for the investment she made in me, and we’re still close friends 30+ years later.

Belonging to a professional organization like LDSPMA provides many opportunities to mentor and be mentored. “Let’s take a look at some of the ways to find or be a mentor.”

How Do I Find a Mentor?

To find a mentor, start by thinking of people in your field whom you admire. Seek them out in person, online, or by phone. See if they would be willing to occasionally meet or otherwise talk with you to help you progress in your career.

Another way to find a mentor is to come to LDSPMA’s annual conference. It’s an unparalleled opportunity to interact with industry luminaries in an intimate setting. Meet speakers and panelists before and after their sessions. Connect with them online and through what they’ve published.

Also join LinkedIn, and follow thought leaders. Comment on their blog posts and social media pages. If you’re interested in having someone you admire serve as your mentor, then ask. It’s that simple. Meeting the potential mentor in person and establishing a meaningful relationship will facilitate this possibility.

For example, Richard Leider is one of the luminaries in the field of purposeful work and living and is the author of several bestselling books, including The Power of Purpose. I traveled to the San Francisco Bay area to attend a workshop he was leading, and I took the initiative to help him set up for the day and to visit with him one-on-one. That initial meeting grew into the opportunity to spend three weeks together in Tanzania and to lead workshops together. Most successful people are generous in paying forward the investment their mentors made in them.

With so many new publishing modalities, you may find that your mentor is younger than you—and more experienced! Don’t be embarrassed to learn from them, and see how you can help them in return.

What If I Want to Mentor?

Reflect on the person who extended trust to you, and do the same as they did—for the same reasons. Care about people. Care about your profession. Invest your energy and time in helping others by providing mentoring.

In a professional association, like LDSPMA, one of the greatest benefits of membership is mentoring relationships. If you’re an experienced editor, publisher, writer, filmmaker, composer, podcaster, or other publishing/media professional, look for opportunities to share career and life lessons and help shorten the learning curve of a rookie in the field.

Take on leadership roles in professional circles. Share lessons learned in talks, articles, LinkedIn posts, and other online avenues.

Conclusion

“I am a part of all that I have met,” wrote Tennyson in Ulysses. I seek to be the best part of all whom I’ve met. I look forward to meeting you at an LDSPMA event or online. Please let me know how I can help you in your journey of sharing light!

Advice from the Experts: Steve Piersanti (Former Publishing CEO, Founder of LDSPMA, Acquisitions Editor)

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By Lessa Harding

In high school I had a homeroom-type class that contained a mix of students from every grade. There were a number of classic high school characters, as well as some who broke all the molds. There was the kind, handsome senior who’d fit in any Hallmark movie. There was the beauty queen who thought she was better than everyone else. There was the Christian girl who stood up to every attack on her beliefs. There was a soccer star, a basketball champion, a physics wiz, and a math nerd (that last one helped me solve homework problems using dry erase markers on the window). And there was the guy everyone wanted to be. He had a successful business, good grades, and a confidence that somehow removed him from the social hierarchy that is high school. We all knew he’d succeed at whatever he did, and we all looked up to him for it. Recently, my thoughts turned back to him. The reason? I was interviewing Steve Piersanti.

I know nothing about Steve’s high school experience, but I have to admit I felt like I was a freshman again looking up to that most-likely-to-succeed senior in my advisory class. Steve is the kind of guy who gets back up every time he gets knocked down, who accomplishes everything he puts his mind to, and who then helps others do the same. I was amazed to learn that he not only founded LDSPMA but also founded and edited a student scholarly journal while attending BYU, graduated with highest honors, began his career as an advertising copywriter at Jossey-Bass Publishers, and worked his way up to the position of president at the same company. Later, he founded Berrett-Koehler Publishers and served as CEO while also working as an acquisitions editor. He somehow also found time to play basketball, lead an annual gardening workshop, prioritize family functions, and go backpacking. The best thing about him, though, is that unlike the senior in my advisory class, Steve is approachable, is kind, gives encouragement, offers praise when it’s due, and is willing to help others who want to follow in his footsteps. Let me share some of his advice for traveling along the path to success:

  • “Most authors are primarily focused on how their books are written. That is important, but what is equally important is the marketing of your book.”
  • “The number of books being published annually in the US has tripled in 12 years, while total book sales have not grown.[1] . . . The only way publishers have kept afloat is by shifting more and more of the marketing to the authors. An author today must come to their publisher with a marketing plan…. What publishers look for now is the author’s so called platform. When you submit a proposal to the publisher, you need to include a strong section about what you are willing to do to help market your book.”
  • “If you want to get up to speed on how to get your book published, here is how you get started:
    • Go to the annual LDSPMA conference, and learn about how to market books.
    • Learn what successful authors do, and do it yourself.
    • Figure out what your potential assets are (e.g., blogging, social media, connecting with audiences, and speaking).
    • Get involved with groups and associations in your genre.
    • Then think about publishing your book.
  • “You have to pick the right publisher to pitch your book to. Most have a particular area they are interested in. You need to do upfront research about the publishers you would like to pitch to.”
  • “When a publisher asks, ‘What are the competing works,’ don’t say, ‘It has no competition’ or ‘My book is unlike any other.’ Those kinds of statements work against you.”
  • “Everyone starts at the bottom and works their way up. Figure out what you want to do, and actually start going after it instead of going on your current inertia.”
  • “Everyone has many setbacks. I suppose [the best response] is going back and revisiting what you are really trying to accomplish. What really matters and what doesn’t matter? . . . [After a failure] you have to come up with a new game plan and come at it with a new perspective.”
  • “Some things are going to take decades. You just have to accept that. You can keep going!”
  • On how to balance family and work: “Family commitments that I make, I always came through on them. If I said I was going to be somewhere, I did it. Don’t let something ‘come up.’”
  • “Don’t work on Sunday. That is a day for family and church. Same thing with Family Home Evening. . . . Build [your schedule] around [those important family obligations].”

[1] See the article titled “The 10 Awful Truths about Publishing,” https://www.bkconnection.com/the-10-awful-truths-about-book-publishing.

So You’ve Written a Book. What Now?: 3 Steps from Lisa Mangum

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By Lisa Mangum, Managing Editor at Shadow Mountain

So you’ve written a book. Now what? Well, after revising it and polishing it and reading it through one more time, you’re probably ready to send your book to a publisher. Here are three things to get you started on that journey.

1. Do your research. Not every publisher publishes everything, so make sure the publishing house you’re submitting to is actually looking for the type of thing that you write. A house that doesn’t publish children’s picture books will not publish your children’s picture book, no matter how well written it is. You’ll need to research publishers online, look at their backlist titles, and perhaps even follow them or their editors on social media.

Another way to narrow down your list of publishers is to look at other books in your genre. In addition to looking at who the publishers are, check the acknowledgments page, since authors often thank their agents and editors by name.

2. Follow the guidelines. In your research, you’ll likely have found submission guidelines posted somewhere on each publisher’s site. The best thing to do once you’ve read through the guidelines is to follow them exactly. If the guidelines specify to submit 10 pages, do that. If they say to send the pages in the body of an email (as opposed to an attachment), do that. If they say you must have an agent in order to submit, get an agent.

As a general rule, agents, editors, and publishers like to see manuscripts formatted with the following specs: double spacing, 12-point Times New Roman font, and one-inch margins.

3. Write a query letter. Writing a query letter is one of the hardest steps in the process, but the document is required by agents and editors alike. There are a lot of resources online that can help you learn how to write a query letter (a great place to start is AgentQuery.com), but here’s a simple overview of how to structure your first draft:

A basic query letter has three paragraphs. The first is the “hook”—the premise of your story summarized in just one or two sentences. The second paragraph is where you can elaborate on the storyline, introducing secondary characters, plot points, and themes. The final paragraph is a short bio of who you are and why you wrote the book you’re pitching. Somewhere in the letter, you also need to mention the book’s title, genre, and approximate word count.

It can be hard to distill the entire plot of your book in one paragraph, so I recommend focusing on the four Cs: character, conflict, choice, and consequence. Introduce me to your main character. Explain the conflict he or she is facing—the goal that needs to be accomplished and some of the obstacles that are standing in the way. Focus on the choice your main character has to make at the end of the story. Make it clear what is at stake for the main character by presenting the consequences of that choice.

Finding a publisher for your book can feel like a marathon at times, so don’t panic if the path feels long and a bit unpredictable. Just keep moving forward and working on your craft, and you’ll find the path that is right for you.

10 Common Mistakes Your Editor Wants You to Fix

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By Lessa Harding

By a show of hands, how many of you still have emotional scars caused by the red pen your English teacher used to grade your writing assignments? Come on, raise your hands. I’m definitely raising my hand. Fifteen years after graduating from high school, I still appreciate it when a professor uses a blue pen instead of a red one. I’ve always struggled with where to use commas, how to use modifiers, and how to properly cite sources. So, to help us all out, I asked Suzy Bills and Marianna Richardson, who teach editing and writing courses at BYU, to list some of the most common mistakes they see in university writing assignments and professional publications. Here’s what they shared:

Mistake 1: Using a comma after a conjunction when it links two dependent clauses

Rule: If or, and, or but links two phrases that couldn’t be complete sentences on their own, then don’t use a comma before the linking word.

Example: I went to the store and then went to the park.

Mistake 2: Following for example or for instance with and so forth

Rule: When a list starts with for example or for instance (or e.g.,), the list should not end with and so forth (or etc.) because for example and for instance indicate a finite number of examples will be listed, whereas and so forth indicates the list isn’t finite.

Example: For example, you can use red, orange, blue, and green.

Mistake 3: Using unclear and weak pronouns

Rule: Beware of weak pronouns (e.g., it, there, this) since they can cause confusion in meaning or can lead to being wordy or using the passive voice.

Examples:

  • The Book of Mormon focuses on Jesus; this emphasis changed how I live. (Not: The Book of Mormon focuses on Jesus; this changed how I live.)
  • Some people don’t like to run. (Not: There are some people who don’t like to run.)

Mistake 4: Misplacing modifiers

Rule: The modifier should be placed right before the word it modifies. Pay particular attention to the word only.

Examples:

  • Only Steve likes the team when it wins. (Meaning: No one but Steve likes the team when it wins.)
  • Steve likes the team only when it wins. (Meaning: Steve doesn’t like the team when it loses.)

Mistake 5: Using i.e. instead of e.g.

Rule: i.e. means “that is” or “in other words,” whereas e.g. means “for example.”

Examples:

  • Please, wear nice clothes (i.e., a suit and tie).
  • Beware of weak pronouns (e.g., it, there, this).

Mistake 6: Using that instead of which

Rule: Use that when what follows is essential to the meaning being conveyed in the sentence. Use which when what follows isn’t essential to the meaning being conveyed.

Examples:

  • I went to the beach, which is my favorite vacation spot. (Meaning: Beaches in general are my favorite vacation spot.)
  • I went to the beach that is my favorite vacation spot. (Meaning: One specific beach is my favorite vacation spot.)

Mistake 7: Using lead instead of led

Rule: Led is the past tense of the verb lead. The noun lead refers to a metal. People often confuse the verb led with the noun lead because the words have the same pronunciation.

Example: I led him away from the statues, which was made of lead.

Mistake 8: Using less instead of fewer

Rule: Use less when the object you are referring to is uncountable. Use fewer when the object is countable.

Example: I have less water and fewer pieces of candy than you.

Mistake 9: Using who instead of whom

Rule: Use who as the subject of a sentence. Use whom as the object of a verb or preposition.

Examples:

  • Who spilled this milk and didn’t clean it up?
  • To whom did you address the letter?

Mistake 10: Using a hyphen instead of an em dash

Rule: Use a hyphen to join two words together. Use an em dash to set off a statement that is parenthetical or that signifies a break in idea or sentence structure.

Examples:

  • I love my mother-in-law.
  • You think you have to go to the party—the biggest event of the year.

In case you want even more guidance, here are some resources suggested by Suzy, Marianna, and a few of our readers:

  • HBR Guide to Better Business Writing, by Bryan A. Garner
  • The Chicago Manual of Style, by the University of Chicago Press
  • Style: Lessons in Clarity and Grace, by Joseph M. Williams
  • Chicago Style Workouts, available at https://cmosshoptalk.com/chicago-style-workouts/

Happy writing!

Three Marketing Strategies For Your Next Book Launch

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By Michelle McCullough

I launched my first self-published book in 2013. In 2017, it got picked up by a publisher and released in an expanded form. Both times, I treated the launch like I self-published since most publishers don’t do much by the way of marketing these days.

The first time I published a book I took the “If you write it, they will buy it” approach to marketing. I posted a few times on social media, did a couple of podcast interviews, and refreshed my sales page approximately 27 times a day. As you can imagine, it wasn’t a very effective marketing plan.

The second time, I tried a few tricks I’d learned from friends and people smarter than I am. I watched and studied other book launches and dissected what worked. Then I figured out how I could put my own spin on the successful tactics. I could fill a new book with all the things I did, but today I’m going to share three of the most effective strategies with you.

First, I created a free call series the month leading up to the book launch. My web team designed a landing page so people could register for the series and I could collect email addresses. For four weeks, every Wednesday I offered a free one-hour group training call related to different sections of my book. I created a Facebook group so I could hold conversations with everyone between calls, and I offered giveaways for people who were willing to share the call series with their friends. I recorded the calls and made each recording available for seven days, to encourage people to listen close to the air date. Then, I offered all four of the recordings to folks who preordered the book at the end of the series (the recordings were part of a bigger bonus bundle, which I talk about below). Even better, I still have the emails and the Facebook group—two assets that outlasted my book launch.

Second, I reached out to friends and colleagues to contribute videos, audio, and ebooks that I could give away to people who preordered my book—I wanted to make sure online sales were incentivized and appreciated. In the end, I had over $800 in training materials that complimented my book and offered some promotion to the folks who donated. This bonus bundle also encouraged social sharing from friends and followers because it wasn’t just about “buying a book”; it was about getting a ton of value for a super low cost. My web team created a landing page where people entered their email address and receipt information, so once again I expanded my email list. Additionally, the bonus bundle helped me accomplish my main goal: climbing the bestseller charts on Amazon.

Third, and perhaps most important, I reached out to friends and family to be part of my book launch team. Many of them would have supported me anyway, but forming a team gave me a chance to remind people about key marketing launch dates, share artwork for the launch, and have fun with the people who supported me the most. I created a private Facebook group, added branded graphics (book excerpts and quotes, book reviews, etc.) that my team could use, and posted a schedule of key dates so that we could post in windows that capitalized on social media algorithms. I also held giveaways for my team. They received entries for sharing on social media channels, buying the book, and leaving a review. I had a lot of fun with my book launch team

These ideas are perfect for nonfiction book launches, and I’ve seen them used successfully for fiction books too. As you consider these options, ask yourself, “How could I make these work for me?”

Cheering you on during your next book launch!

Michelle McCullough, www.speakmichelle.com

Marketing: Reaching the Seventh (Book) Encounter

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By Laura Harris Hales

Book marketing guru Shari Stauch estimates that it takes consumers an average of seven encounters with a book before they will purchase it. My research shows that a slight tweak to that statement would make it more accurate. It is more likely the number of encounters with the author is what tips the scales when it comes to book purchases.

The sad truth is that if you’re not already a bestselling author, then book marketing will be more akin to a marathon than a sprint, and the dreaded “wall” hits you sooner than you would think.

It’s easy to be excited about marketing when one is the belle of the ball with book signings scheduled, book reviews published in popular online forums, a short stint on the Amazon bestseller list, podcast invitations, and a book trailer tabulating views on YouTube. But that time in the spotlight lasts shorter than most of us would like, and soon authors are brainstorming on how to get their books once again in front of the eyes of potential consumers.

Interestingly enough, one of the most effective selling techniques for new authors is to promote their writing generally rather than their book specifically. Regional newspapers and popular online websites are always looking for content. And if content is offered for free, it is more attractive to publishers. This is one marketing avenue that shouldn’t be ignored.

Recently first-time author Spencer W. McBride deftly used this technique. Spencer is the author of Pulpit and Nation: Clergymen and the Politics of Revolutionary America. On the day before the presidential inauguration, his editorial entitled “My view: Trump’s victory demonstrates an exploitation of Christian voters” was published in the Deseret News. Though never specifically referring to the contents of his book, he skillfully wove aspects of the current political climate into politics of the American past. In the process, he not only showcased his mastery of the subject matter but also its enduring relevance. The only hat tip to his book was in the bio: “Spencer W. McBride is the author of “Pulpit and Nation: Clergymen and the Politics of Revolutionary America.”

Spencer is an acquaintance. I knew about his book. I love history and books, but had yet to consider purchasing it because it seemed to be on a narrow topic with little practical application. After reading his editorial, I became intrigued. His insights were astute and his writing style interesting.

Did I buy the book? No, but I did check out the price on Amazon. Besides I am only at encounter five.