Overcoming Loneliness

A child watches as a mother cuddles her daughter in their play together. A teenage girl walks alone past a group of peers as they laugh and talk together. A young man lays aside his values to become part of a crowd. A single mom flips the pages of a magazine as she watches couples strolling through the park. An elderly man picks a daisy and ponders the hole left in his heart by the loss of his dear wife. Loneliness is a world-wide epidemic.There is loneliness and then there is pathological loneliness. We all experience loneliness at times throughout our lives when there is a loss of a loved one, loss of a relationship, or your child moves away to start his own life. But pathological loneliness is like a bottomless pit. Once the emptiness takes hold it seems almost impossible to fill up with love. Like a leaky cup losing water; the hole in the sufferer’s heart never seems to heal. No matter how many people reach out to help, love-hunger continues to gnaw away at the person whenever he or she is alone. This kind of emptiness is most often caused from deep emotional wounds which have been inflicted in childhood.


When children do not receive sufficient affection and affirmation they find themselves lacking in self-esteem, confidence, and purpose as they grow. They often flounder in their social skills, education, and mental stability. They have difficulty receiving God’s love and question His care for them. All of which leaves them wanting and lonely.Although for these individuals, a deep intimate relationship with the Creator of the Universe seems impossible, the best means of healing a lonely heart is developing a close relationship with your Heavenly Father. He knows how to fill all the cracks and crevices where loneliness lurks. He promises He will never leave you or abandon you. Christian counseling may also be a necessity to get to the root causes and bring about mental and emotional healing.There is much you can do to help yourself move out of your isolation and build new friendships that can be both stimulating and fulfilling.Here are some ways to overcome loneliness:• Recognize what it is that causes your lonely feelings.• Identify the effects that loneliness has on your life, both physically and mentally.• Make a list of potential adjustments that can be brought about in yourself and your activities to allow more social interaction.• Seek out individuals who share similar attitudes, interests, and values with you.


• Develop new friendships by joining small groups such as a Bible Study, book club or walking group.• Volunteer to sit on a committee or look for options to serve in your community. These opportunities are both rewarding and beneficial to your emotional health as you meet people and cultivate new friendships and social interactions.• Learn to see yourself as God sees you. You were created with unique gifts, talents and personality traits which will be a blessing others.Loneliness can be overcome; however you will need to make a conscious effort on your part to make a change in your daily routines. Making the effort to alter the way you see social activities, friendships and yourself can eventually make you happier and healthier. You will surprise yourself in how you positively impact others around you.

Some of the Best Cooking Books That Need to Be in Your Kitchen

Having just graduated from university, cooking books have a firm place on my kitchen shelf. From disastrous attempts at making barely edible dishes, my time as a student has exposed me to many cooking books. Here are the top ten of the best cooking books that are invaluable to any wannabe Masterchefs out there.

Ready… Steady… Cook!

10. Delia’s Complete Cookery Course by Delia Smith

This mammoth cookery book whips in at number 10. Delia Smith is very much the David Beckham of the cooking world – an institution. Her Complete Cookery Course does exactly what it says on the tin. It provides wannabe chefs with a full, comprehensive guide to creating the best dishes. With fundamental must know recipes like apple pie and yorkshire puddings, Delia shows she is one of the masters. With mouth-watering pictures acting as a rough guide this book is a god send for beginner chefs. No doubt a staple on your mother’s shelf, this book is perfect as a starting point in the basics of pastry making, cake baking and roast making. A genuine triumph in the cookery book world.

9. The New Curry Bible by Pat Chapman

Chapman’s bible does not follow the conventional rules of cookery books, but is a diamond in the rough for curry fanatics out there and the reason it has made this best cooking books list. The New Curry Bible does not simply show you the recipes but teaches you the history of curry making. It is not a book to be bought for people who want a quick fix curry. If you are one of those people I suggest you save yourself time and money and just buy a ready meal. However, if you are interested in the exquisite nature of curries, then this book teaches you all you need to know. Like any specialist cook book, it is a little disheartening at first to encounter all of the strange herbs and spices that you know you don’t own, but the rewards from having knowledge of these is irreplaceable. Although it may take you a while to get to grips with the fine art of balancing the spices, you will most certainly become famous amongst friends and family for the talent you will take from this beautiful book.

8. Rick Stein’s Taste of the Sea: 150 Fabulous Recipes for Every Occasion

As a massive lover of seafood, this book has literally been my magna carta. Rick Stein takes you on a journey around the coast and teaches you to really appreciate fish in all its scaly glory. From skinning methods to filleting, this book teaches you how to prepare and cook fish to perfection. Stein writes in a clear and simple fashion and it is impossible to resist his infectious passion. With a variety of dishes that cater for absolutely every occasion, this book is a must have for beginners and experienced fish mongers alike. The instructions are not condescending or set in stone, and leave freedom for experimentation. A truly great book by a truly great chef and teacher.

7. Simple Chinese Cooking by Kylie Kwong

Following the theme of specialist cooking books, Simple Chinese Cooking is an absolute must have for anyone wanting to start a love affair with chinese cooking. Filled with beautiful photography, this book coaches you through each dish with clear and crisp step-by-step instructions. Usually when faced with a specific cook book, there seems a never-ending list of ingredients that appear to exist in outer space, but this book has essentials that can be bought and found easily in local grocery stores. Not only is this book a great guide, but it is also incredibly exciting as each week you can watch yourself develop and gain confidence with once seemingly difficult dishes. From steamed cod to sweet and sour pork, Kwong’s recipes will have you burning all your chinese takeaway menus from the get go.

6. Jamie’s 30 Minute Meals by Jamie Oliver

There can be no such thing as a best cooking books list without Mr Oliver, of course. One of the things I love most about almost all of Jamie Oliver’s cook books are their beautiful and impeccable presentation. They are not endless pages of lines and lines of writing but are instead filled with bright, colourful and delectable pictures, as well as no- nonsense recipes. In his 30 Minute Meals Jaime shows you that once and for all cooking does not have to be a stressful and laborious affair. Jamie’s 30 Minute Meals is amazing for working people for whom time is money, and of course students who wish to spend minimum amount of time cooking and maximum amount of time… studying. Not only is it wonderfully organised with a designated section for starters, mains and desserts, but there are numerous vegetarian recipes scattered inside, making this book literally for every type of chef.

5. The Best Recipes in the World by Mark Bittman

After his debut cook book How to Cook Everything became an international sensation, Bittman is back to teach you it is easier than you thought to cook recipes from all around the world. With no unnecessary embellishments Bittman gently leads you on a culinary round the world trip that will leave your taste buds in a state of euphoria. The best aspect of Mark Bittman’s The Best Recipes In The World whilst you may never get round to cooking everything inside, the dishes you do make will leave you feeling inspired to take dishes you already cook and turn them on their head. Although it can be overwhelming to face so many recipes in one book, I urge you to add this to your collection. It is timeless and will only help to increase your knowledge of food.

4. Gordon Ramsay’s Secrets by Gordon Ramsay

In this incredible and not too badly priced book, Gordon Ramsay lets you in on a few secrets that have made him the world-renowned chef that we have all come to love. With a huge collection of recipes from poultry to fish and desserts to soups, this cookbook lets you in on inside info that will have friends and family thinking you are a bona-fide kitchen guru. The recipes are simple and effective and Ramsay has even added flourishes of his own, such as useful tips on presenting dishes. If you really have a passion for cooking or would love to learn more, this is the book that teaches you not just to cook but how to become a chef. These tips help to make cooking a truly enjoyable experience and will boost your confidence to be adventurous not only in cooking but also in eating as well.

3. The Complete Book of Sushi by Hideo Dekura

As a self-confessed sushi addict this book is incredible – the pages are almost edible. It combines the modern with the traditional and allows you to get to grips with this difficult Japanese style of cooking. Although not to everyone’s taste, this book teaches you the secrets behind making that difficult sticky rice and how to present your sushi in wonderful ways. The most interesting thing about Dekura’s book is they way it advances from simple to expert. This allows you to move gradually at your own pace and also sets little targets within the book. Whilst there are other books on the market such as Yo Sushi’s, it is Dekura’s book that really stands out of the crowd. With gorgeous photography it inspires with a mere flick of the page, and unlike its contemporaries has clear and simple instructions. A must have for any sushi fan and it also makes a great present.

2. Wahaca – Mexican Food At Home by Thomasina Miers

This book comes in at number two of this best cooking books top ten and is a must have for any frequent Wahaca customer. It was only recently published and plunges you straight into the vibrant and tasty world of Mexican street food. One thing that did surprise me was the breakfast section, and I have to admit I have been thoroughly converted to a mexican way of eating in the morning. Full of beautiful pictures and written in an accessible and friendly way, this book does exactly what the title states and brings Mexican food straight into your kitchen. Miers has clearly done the research required for such an exquisite book, and the information about mexican chillies is invaluable. An excellent book for cooking meals for friends and a great equivalent to BBQ parties.

1.Jaime does… by Jaime Oliver

In at number one is Jaime does. In this book Jaime travels through foodie hotspots such as Spain, France and Morocco in order to find innovative recipes. The book is beautifully presented (like all of Jaime’s books) and has wonderful pictures of his travels alongside the amazing pictures of his food. Each country has an introductory paragraph that explains the culture and food he came into contact with, and then in very simple language and an ever friendly tone, Jaime guides you through a range of dishes. From light bites such as patatas bravas to the more complex dishes like the steak tartare, Jaime’s tone never condescends you as the amateur chef. This book not only provides great enjoyment as a teaching tool but is also nice to flip through every now and again to behold the location shots of his food journey. Overall a very deserving winner of this Best Cooking Books list. Absolutely delicious!

This is by no means the only ten cook books I think you should own. There are many other brilliant cookbooks out there for beginners such as The Student Cookbook by Sophie Grigson. This is superb for amateur chefs who simply do not have the time to cook elaborate meals every day and are after recipes for both real cooking and convenience cooking. Then for more adventurous chefs who are willing to getinventive and scientific in the kitchen, there is Heston Bluementhal’s brilliant book The Fat Duck Cookbook, which combines vivid illustrations and wacky recipes for a truly great cooking experience. Overall, the ten books that compose this best cooking books list all offer friendly, easy to follow guidance which enables you to not only enjoy them as books, but also enjoy them as learning tools that will one day make you the king of the kitchen.

Bon appetit ladies and gents.

Book Marketing Techniques: Those That Backfire

Authors need to promote their books, but there’s a right and a wrong way to market, and wanting to sell a book is no excuse for not retaining your manners. No one likes a pushy salesman. Here are some examples of ways I’ve seen authors try to sell their books that have been a total turn-off for me. Authors, make sure you aren’t using these techniques. I’ve listed them in order from what are, in my opinion, least to most annoying.

Lying about Your Book’s Greatness

I’ve seen authors lie about how wonderful their books are in several ways.

  1. Having non-credible book endorsements, both on their websites and books’ back covers. By non-credible, I mean having an endorsement signed by “A.K. in Hawaii” or “A Teacher in San Diego.” If these people don’t want to give their names, they probably don’t support your book enough to want to stand by their comments, and they aren’t going to convince me that your book is worth reading. At the very least, you want full names, and a blurb from Tom Smith isn’t going to mean much to me anyway, unless you’ve written a book about healthcare and he’s Dr. Tom Smith from the Cancer Treatment Center of Miami, or something along those lines. If you can’t get experts on your book’s topic or celebrities or other authors to endorse your book, you’re better off just not including any testimonials so it doesn’t look like false promotion.
  2. False testimonials. Yes, I’ve seen false testimonials and heard authors tell me about them. “A.K. in Hawaii” might be the author’s next door neighbor, a real person who really read the book, but he might just as well be someone the author made up. I know of one author who had a comment page on his website, and about once a week, he would post a comment under a false name raving about his book to try to convince his website visitors how popular and wonderful his book was. The sad thing is that this author’s book truly was terrible, full of grammar mistakes and typos and badly printed, so anyone who read the book knew those comments had to be lies or written by completely crazy people.

Showing Off Your Big Ego

Too many authors try to promote themselves in ridiculous ways by writing on their websites how their book is a “must read” and contains the answer to all the reader’s problems. If you have to tell readers that, they aren’t going to believe you. Go find some legitimate testimonials from reliable people who will say those things about your book. You are not qualified to judge your own book because you have a vested interest in it.

The worst example of authors showing their egos that I’ve seen is when they post book reviews for themselves on Amazon and other online bookstores, and of course, they give their books five stars and brag about how great their books are. When I see an author give himself a five-star review, I realize the author is clueless about what is legitimate as a review; he hasn’t done his homework about the publishing industry, and he is trying to use trickery to sell his book. Not only will I not buy the book, but if there’s an option to vote on the review, I will always vote that it was not helpful.

Being In Your Face and Violating Personal Space

No one likes to have his or her personal space violated. However, not everyone has yet learned that the Internet also contains personal space for people. It’s one thing to have your book for sale on your website, at online bookstores, to promote it at websites for book promotion, or to buy Internet ads. It’s another thing to invade other online users’ personal space.

Here are some book marketing efforts I’ve experienced online that have been a total turn-off for me.

  1. Repetitive and Unwanted Emails. I’ve had this happen more times than I can count. Somehow an author finds my email address and adds it to his email list and I start hearing from him every couple of days about all his book events and why I should buy his book. Even if I want to be on the person’s email list, sending me an email every couple of days is irritating. An email once a month or even once a week isn’t that bad, but I have other things to do than read about your book events on the East Coast when I live in Texas, and I am not going to hop on a plane to attend your book signing, especially if I’ve already read your book and had it signed. And if you’ve added me to your email list without my permission, well, technically, that’s illegal.
  2. Sending Friend Requests at Social Media Sites Solely to Promote Your Book. If people are interested in your book, they will request to be your friend at a social media site. Instead of spam friend requests, take out a Facebook ad that will be targeted toward the people most likely to read your book. It might cost you a little more money, but it will save you time online and provide you with far better results.
  3. Posting Book Covers on Other People’s Walls. My “Wall” is not the place to promote your book. My friends are not posting on my Wall so they can find out about your book. Get off my Wall!
  4. Messaging. No one likes junk mail, so don’t send me a message about how great your book is and how I can buy it. I only want messages from my real friends.
  5. Chatting. This one I especially find irritating. One day I was on Facebook, and an author, whom I didn’t know and who had already sent me three messages trying to tell me how great his book was and to let me know I could get it on Kindle for just $2.99, sent me a chat message about his book. If I don’t reply to your message, I sure don’t want to chat with you. I politely ignored him and logged off Facebook rather than tell him to quit harassing me. I wasn’t going to engage in an argument with him. But let’s be clear-I’m on Facebook to chat with my real friends. Not to read your book.

Sadly, space violations don’t only happen online. I was once at a book festival where an author made a point of going up to people walking by her booth with a set of headphones and quickly placing them over her victims’ ears before they could object so they could listen to her audio book. When I saw what was going on, I quickly turned down the nearest aisle and avoided that side of the room for the rest of the time I was there. I’ve also stopped to look at books at festivals where authors have said things such as “Why don’t you buy this book?” and “What can I do to get you to buy my book?” You can let me be is what you can do. Tell me about the book if you like, give me a chance to read the back cover, and then I’ll buy or move on. I don’t need a pushy sales pitch.

Have you ever met an author who behaves in these ways? I sure have-too many times. Perhaps you are even one of those authors. Hopefully, now you know better. Let’s face it-guerrilla book promotion doesn’t work when you act like you have a gorilla’s manners. Connect with your readers, but do it on their terms, without being pushy or rude. Be friendly, be straightforward, but also be willing to take “No” for an answer. When you are polite, you always make a better impression on your potential readers.

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.