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.

Choosing Your Book Format: Hardcover or Paperback

In the past, the decision about a book cover followed a steady pattern with traditional publishers. Most big name traditional publishers would print a book in hardcover, and then some months later, the paperback version would come out. This process was followed for a couple of reasons. A new book, especially by a well-known author, was a collector’s item. The first edition of a hardcover book was something to treasure, and it was often of the highest quality and made to be aesthetically pleasing, including having a dust jacket. People who wanted a book they could treasure for the rest of their lives would buy a hardcover book. But not all readers could afford hardcover books, so a cheaper mass market paperback would eventually follow. Depending on how much value the readers perceived that the book would hold for them, they might opt to buy the hardcover or they might wait for the paperback. On occasions where the hardcover did not sell well, the paperback edition was never released.

As the world of publishing has changed in the last couple of decades, more publishers have begun to bring out only paperback versions for books perceived not to be of such great lasting value, especially in terms of genre books like romance novels and mysteries. This move saves the publisher money and also makes the books available to a target audience that might not have paid as much for a hardcover of a mystery that can be read in just a few hours.

Now that self-publishing has become so popular, and because traditional publishers are struggling to remain financially stable, more and more books are being printed solely as paperbacks because it’s the most affordable choice. However, hardcover books are still chosen for significant titles by traditional publishers, and some self-published authors also choose hardcover books, often in addition, but rarely in place of paperbacks.

In choosing a book cover format, authors should think about the way the book will be used, the practicality of the cover choice, their own printing costs, what price the market will bear, and how potential readers will view the cover. Following is a breakdown of guidelines for choosing a book cover format for self-publishers.

Hardcover
If you are publishing your first book, you probably should keep your costs low until you know your book will sell, so you are better off opting for a paperback over a hardcover book. That said, there are some exceptions to this rule. Hardcover books are often a good choice for:

  • Children’s Books-because children might be rough with their books so these covers will give the book greater endurance.
  • Cookbooks-because a hardcover book can more easily lay flat on a kitchen counter for quick reference while cooking.
  • Coffee Table Books-hardcover books are easier to hold than paperback books because coffee table books tend to be larger than the average size of 6×9 or smaller used for most paperback books.

While most nonfiction titles and novels will do best as paperback books, you might also ask yourself what perceived value your readers will find in the book. How important is your book, and how important will your readers perceive it to be? Putting your ego aside, you need to understand that your readers are probably not going to place as great a value on your romance novel as they will if you write a biography of Mark Twain. The type of cover you use will speak to the reader, telling him how important your subject is. Remember, readers do judge a book by its cover.

One final advantage to a hardcover book is the amount of “selling” text you can place on it. It is possible to print a nice looking hardcover book without a dust jacket so that the front and back material are the same as if you printed a paperback. However, most hardcover books are printed with dust jackets, which allow for more text to be printed on them. A good formula for text on a dust jacket is to fill the back of it with testimonials you’ve collected from other authors or experts in your field. Then the inside front flap can provide a description of your book that might even run over onto your inside back flap. The inside back flap can also provide space for a short biography of the author and room for a color author photo. Room for more text means more space to sell your book to the potential reader.

That said, if you’re like me, you may find the dust jacket gets annoying while you read the book. I have a tendency to remove the dust jacket while I read, but if readers do that, it doesn’t hurt anything once the book has been sold.

Finally, think about the cost to you and the customer. A paperback book is more affordable to authors and readers. However, a hardcover can be produced sometimes for as little as four dollars more, and that cost can be passed onto the customer by selling the book for five dollars more so you still make a profit on the hardcover. The question is simply: Will people be willing to pay five dollars more for the hardcover edition?

Paperback
The paperback cover is most affordable, and except for the few exceptions listed above, it is probably the best choice for any book, especially novels and self-help books and other nonfiction titles. Again, your book will be judged by its cover, so people may perceive your paperback book as of lesser value-meaning they might actually think the content is of less value too-than if it were a hardcover. However, there is no longer any sense that people are “slumming” by buying paperbacks. I don’t know the percentages for a fact, but I would guess that at least 90 percent of books are printed solely as paperbacks today, especially among self-published books.

You have a little less space on a paperback cover to write text that will sell the book, but you can generally fit on the back cover all the information that you would include on the inside flaps of a hardcover’s dust jacket. If you wish to include testimonials, you can place them inside the front cover as the opening pages. I have mixed feelings about placement of testimonials. Many readers will read them in choosing to buy the book, but others will go to the book description first-most people will buy the book because the topic interests them more than because someone famous said the book is great-but having both can only help so it’s up to you whether or not you feel your testimonials deserve back cover space. Often you can fit just one or two short testimonials on the back cover with the description and author bio to balance everything out.

French Flaps
I’m seeing more and more books published with French flaps. This format is basically a hybrid. It is really a paperback book, but the flaps are an extended part of the paperback cover that fold inward to serve as a dust jacket without being removable. French flaps provide the same space as a hardcover for book descriptions without the expense of a hardcover with a dust jacket. A book with French flaps does cost more than a paperback, but depending on how many books you print, it will probably cost you less than a dollar more per unit.

I believe a lot of authors are choosing to use French flaps because they believe this format makes their book look more professional or significant than if it were simply a paperback. Readers may be impressed with the look of French flaps and even see them as a novelty, but frankly, I find such books annoying to read-the flaps have a tendency of wanting to flip up, making the book somewhat unwieldy. This format feels pretentious to me, like such books have delusions of wanting to be hardcover books.

Making the Choice
Personally, a standard paperback is good enough for me with the few exceptions of books I’ve listed where a hardcover is preferable. While I have offered some guidelines here for choices, no two books are the same and special circumstances may exist that would make one cover a better choice than another. Every author must choose for himself which book cover will best suit his book to promote its value as well as be most desirable in format and price to potential readers.

How To Collect Books For Fun OR Profit

Before you start to seriously go out and buy books, you need to learn some terminology and become familiar with book publishing and production process. For example, while most people think of book collecting only in terms of the final product as it appeared in the bookstore, there are other elements of a book that are more valuable, more elusive, and more heavily collected. Plus, the more you know about the history of books and how books are constructed, the more finely tuned your critical senses will be, and the more you’ll appreciate finding a truly good book. This article is an attempt to educate and provide you with resources to get you started in book collecting.

For the collector, there are three primary things to consider when buying a book: EDITION, CONDITION and SCARCITY in this condition and edition.

Understanding these areas is the different between success and failure, between being able to build a collection of treasures and an assortment of reading copies, between being able to collect and sell for money, or just going out and buying a lot of worthless books.

———————

Parts of a Book

*Cover- To put something over or upon, as to protect, conceal or enclose. Dustcover.

*Spine-The back part of the book and it faces outward when you shelf the book right.

*Title Page- The page at the beginning of the book, usually containing the title of the book and the names of the author and publisher.

*Copyright Page-Where the copyright date is found.

*Dedication Page-Its the place where the author dedicates the book to someone.

*Table of Contents-A list of the books contents, arranged by chapter, section, subsection, Etc…

*Forward- An introduction by person other than the author, and it is usually a famous person..

*Text (or Body)-The actual words of the book

*Glossary-A list of hard words with their meanings often printed in the back of the book.

*Bibliography- A list of books, articles, etc. Used or referred by the author at the end of the book.

*Index-A list of subjects and names in alphabetical order at the end of the book.

*ISBN-International Standard Book Numbers–is a ten digit number that uniquely identifies books and look-like products published internationally.

————————–

Getting Started

The used and collectible book market divides into three neat categories:reading copy, antiquarian, and modern first edition.

*Reading Copies

Are books you can take to the beach or into a bathtub. They’re the largest part of the book market, and they’re everywhere. If you buy a book with anything in mind other than collecting, you’re buying a reading copy.

*Antiquarian

Antiquarian book lovers seek out classic old volumes—editions of Scott, Wordsworth, the Bay Psalm Book, examples of fine printing and binding from centuries past.

*Modern Firsts

Modern first edition collectors tend to limit themselves to this century, to the writers who have defined the times we live in, such as Steinbeck, Hemingway, and Faulkner.

————————————

Taking Stock

The first step to being a good book scout is to take a look at your own bookshelves at home.

This is going to be your opening stock, so take a minute to appraise what you own. Do you have a lot of paperbacks with cracked spines and tattered covers? Or do you have a nice selection of good hardbacks neatly care for, books you brought as soon as they came out? The fact that you own books at all shows that you’re a lover of books, which is the first step to becoming a serious collector.

————————————-

First Edition or Printing

So, obviously, you’ve got to learn how to identify first editions to avoid making costly mistakes. After all, if you think it’s a first and you turn out to be wrong after paying a premium. The problem is, nearly every publisher has its own method of identified first editions. You can memorize the policies of every single publisher in the history of the book trade, and even then you’ll make mistakes, because all of the rules have exceptions. On my shelves, and on on the shelves of every collector I know, there are at least a few books that looked like a first of first, but turn out later to be plain old books instead.

As general rule, there are two things to look for right off the bat:a statement of edition, or a number line.

The statement of edition is exactly that: on the copyright page, the book says “FIRST EDITION” or “SECOND EDITION” or FIFTY-THIRD EDITION.” Or if not “edition” it will say “printing”. With lots of publishers that’s all you’ll need to find.

Unfortunately, some publishers don’t remove the edition slug from subsequent printings; or sometimes a book club edition will state that it’s a first; or sometimes there’s nothing stated at all.

The next thing to look for is the number line. This is a sequence of numbers which, on the first, usually go from 1 to 10 (some publishers will go 1 to 5 and then the five years around the year of publication: for example, 123459495969798); it may be in order, or it may start with 1 on the left, the 2 on the right, and so forth, with the 10 in the middle. Look for the 1. On every publisher employing a number line except Random House, a number line with a 1 is a first edition. Random House, just to be sure that no one can ever be sure, use a 2 on the number line and the “FIRST EDITION” slug.

There are some publishers who indicate a first edition by not indicating it. If you don’t see anything that says it’s a second or third edition, then it must be a first. There are other publisher who code the information into the book somewhere, but it isn’t always easy to find.

Those three checks will help you identify most books from most publishers, but not all.

————————————

Points

These little differences, about where the photographs should be, wrong lines printed in the book, etc., are known as points.

The easiest way to start learning points is the obvious one: pay close attention to the better price guides, which rarely fail to list the major points. Never just look at the price, look at the entire entry.

Because points are so vital, it’s time to introduce one of themes of this article: to collect successfully, it is important to specialize to a large extent. You are never going to learn the full field of points, of every single detail differing in every single book. In the comfort of a used book shop, maybe the owner has time to run back to check twenty reference books to research points.

But you are standing in the store, looking at the book, and you’re not sure, you’re on your own. If you’re specialized, you’ve got a better chance of coming up with the right answer. This is not to say you should never go out of your field; but in your field, go for depth. Learn everything you can. If you’re a science fiction fan, a modern lit fan, a devotee of travels and voyages, there are specialized bibliographies and reference books you can use to track down and discover new points.If you’re interested in children’s books, study the authors, and pay attention to every detail of the book in your hand.

—————————–

Condition

We’ eve looked at the details of the edition; now it’s time to look at the details of condition. You can own a copy of the rarest book in the world, and if the boards are off, the hinges sprung, if there’s writing and foxing on the pages and heavy water damage along the edges, all you got is a lump of worthless paper. For a first edition book to be collectible, there is nothing that affects the price as much as condition. Even the rarest first, if trashed, is just trash, not a collectible book.

——————————-

Dust Jackets/Dust Wrappers

It is the condition of the dust jacket that determines the largest percentage of the book’s price—-some dealers estimate as much as 80%—-and so this is where you should start grading. A wonderful book without a dust cover is just a reading copy. Collectors want prime dust jackets.

That’s what they see first, that’s what’s displayed on the shelf, so the dust jacket should be treated like cash money.

When grading a book, look at the dust jacket first, and then move on to the book itself. When you look at catalogs, you’ll see most dealers will give one grade for the book itself, and another for the dust jacket. The whole package is important, but the dust jacket has priority. Without exception for books produced in the last 40 years, there is nothing more important for the book’s value than the dust jacket.

————————————
Grading

Grades are given in descending order: Very Fine, Fine, Near Fine, Very Good, Poor.

* Very Fine–A book that is in perfect condition There are no sign that the book has every been read. The dust jacket is bright and shiny as it was the day it came off the press. No signs of rubbing, bumping, chips, dents, dings, or creases. Book should be tight, creaks with you open it and does not fall open to any particular page of section. No ownership marks on any of the book.

* Fine–It is a small step down. A tiny bump or two is allowed. The book may have been read, but very carefully. The dust jacket has lost some of its sheen, bit it is still intact, with no tears or chips in it.

* Very Good–A book that is physically intact, dust cover on and reasonably unmarred. A book that has some basic flaws. These are the books on most people shelves. The dust jacket may have rubbing, a tear or two and a couple chips. It could be sun-faded.

* Good–A Book in reading condition only. Dust jacket will have serious problems–Large chips, tears, and price clipping (were someone cup the price tag off) are to be expected. Book may have stains, hinges torn loose from spine.

* Poor–The final condition before the recycle bin

* Library Markings: There is one other thing that makes a book worthless:library markings. These may be a stamp with the library’s name on it, the glue from a return-card pocket, or stickers on the dust jacket.

——————————-

Book Scouting

To be a good book scout, you have to keep your eyes open at all times. Never drive by a place that might have books for sale. You can find books at Book Auctions, Garage Sales, Estate Sales, PTA Auctions, Antique Stores, Book Fairs, Thrift Shops, Goodwill, etc.

Tools to use when you are Book Scouting.

*Price Guides:

1. Allen and Patricia Ahearn’s Collected Books:The Guide to Values.
2. Book Prices:Used and Rare
3. Mandeville’s Used Book Price Guide

These three guides will cover a good percentage of the book market.

*Online Websites:

1. Addall
2. Abebooks

These two sites are great for founding and getting prices on books.

*Dealer Catalogs

A supply of dealer catalogs can teach you more about the currency book market and current prices than anything else.

Never, ever throw a price guide or a catalog away. Updates do not always have the same books. You may often find yourself scrambling through a stack of material, looking for what year a particular book first showed up. With some practice, it’s not that difficult to prorate the market and update material yourself, and the old guides are a valuable source of information. Beside which, watching how the guides change can teach you how the market has changed, and whether the prices you’re paying or asking are fair. Pricing a book is an art form in and of itself and one you can never be entirely sure of.

* Editions and Points Guides

1. Edward N. Zempel and Linda A. Verkler’s First Editions

2. A Pocket Guide to the Identification of First Editions

I recommend owning both guides.

*Books about Collecting Books

1. Modern Book Collecting By Robert Wilson

2. Understanding Book Collecting by Grant Uden

3. How to buy Rare Books by William Rees-Mogg

All three books are excellent in getting you started.

*Book Buying Tools

1. Scoul Pal– Check out their scanner system that adapts to any cell phone. Scanner are simple and easy to use. You just scan the barcode containing the ISBN or UPC number and ScoutPal will present concise results, including a summary of market prices and quantities, sales rank, editions and availability, and used/new/collectible details.

2. AsellerTool– Check out their scanner system too.

—————————————————

Spotting Trends and Picking Authors

Like all other fields, the book market moves in cycles.There is more short-term money in spotting trends than there is in buying classic writers, but there is also a lot more risk. Trends come and go, while the classic authors more slowly but steadily.

Which is one of the reasons why it’s important, even in books you’re planning to deal, to buy things you like. There is no telling when you’ll get struck with them. If you are a collector, simply buy what you love. You can never go wrong doing that. Dealers have to look at things a bit differently.

What you must remember is that all hot books have their day, and that day almost invariably comes to an end, sooner or later. If you’re buying a book for resale, not just for collecting, it’s important that you constantly monitor the price guides and the catalogs for fluctuations in value.

When picking authors watch for cycles. Watch for books in new categories. Some writers have a strong enough visions that they are indefinable, and these writers tend to to be especially collectible in their early works. Tom Clancy is one.

So watch for what’s new, for who’s on the cutting edge, because even if you look at classic collectible books, you’ll see that those authors, too, were pushing the envelope. That’s what’s made them worthwhile for so long: Hemingway’s restrained prose; Steinbeck’s social consciousness. T. S. Eliot reinvented poetry, as did Allen Ginsberg. That’s why their books are still sought after, still read and discussed.

———————————–

Signed Editions

There is nothing as lovely as an autographed book. It has a special feel that cannot be matched by any other copy. This copy was in the author’s hand, before it came to you.

Signed copies are always at a premium. Everybody wants a copy of a book that has passed through the hands of a favorite author.

There are two kinds of signed books. Limited editions, which were produced to be signed. Signed trade editions are the copies that fans and hopeful dealers have taken up to the author and gotten signed themselves.

——————————————

The above information, if apply, will give you a great start to your book collecting hobby or book dealing.

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.