My husband and his knee inspired this post when what we thought would be a knee replacement turned out to be eight weeks of physical therapy (PT) to get him back in balance. My bloggy-self always perks up at the mention of words like "balance" and "maximum potential," so I peppered the Hubs with some questions.
It turns out that walking great and writing well have several things in common.
Their Goal For Him
They wanted to strengthen the weaker muscles in his leg to balance with the stronger muscles and keep his kneecap aligned. His pain was from his kneecap (patella) literally being pulled toward one side of his knee.
That's not the intriguing part. The cool part was that what they did to achieve this balance sounds a heck of a lot like what we do as writers.
3 Components That Keep Your Body in Balance
These are your big three things that keep your body in balance. (Plus, it explained to me why, when I had vertigo, they used my eyes to retrain my ear.)
Your inner ear
Your vision
Your musculoskeletal control
Their example:
When you hold your arm out in front of you, there's more happening than you just looking at your arm. You remain upright through the balance of your inner ear (which is the only aspect of this that is really out of your control). You sense your arm through nerve impulses transmitted from the core strength of your muscles which attach to your bones. The three together allow you to keep that arm held out straight and still for much longer than you might think you could.
Try it. . .the act of staring at your hand makes a huge difference in the amount of effort you need to expend for this exercise. If you don't stare it, your arm gets heavier faster. The difference was somewhat astonishing.
If ANY of these three components are out of whack, the arm (or the leg, or even your entire body) will no longer be able to stay upright. Focusing all three components on the task is what makes it work.
How do we relate this to writing?
Let’s change the order around a bit and dig a little deeper.
Part 1 – Your Inner Ear
Think of your inner ear as your writing voice. Voice is the cadence that is essentially you. It’s what makes your work stand out as unique.
The best description I've ever heard of "voice"
Imagine you are sitting in a café, telling your friend a story. The way you tell a story is quintessentially you. You don’t stop to think about how the story sounds when you’re talking to your friend, you just tell it. The visual and verbal cues you get back are what help you time the rhythm of your story and play certain parts of it up or down.
The best part, and the hardest part, about writing is that we do it alone. There is no one across the café table, or computer screen, to tell you what’s “just right” and what is falling flat. We learn to recognize what works on our own (through Craft) or we find a great critique group.
Part 2 – Musculoskeletal Control
Techie Definition: Musculoskeletal control is essential in our balance and vital to our ability to walk normally. The mechanics of human ambulation, or walking on two legs, is quite unique in nature. It has been described as consisting of a cycle of "controlled falls," which highlights the complexity of distinguishing between a fall or stumble and normal, controlled walking.
For the writer, “musculoskeletal control” is Craft.
The more you exercise your writing muscles, the more balanced and resilient they become. It took me ages to recognize (and accept) that it doesn’t matter whether you can lift a five pound weight or a fifty pound weight, what matters is that you can do it a lot and do it smoothly. Patience is not my virtue, so I'm always wondering why I can't curl 25 pounds like a badass, instead of being impressed with how smoothly I can curl 5 pounds.
In writer-speak: a good writer with the courage to approach the page every day is going to be published long before a great writer that approaches the page sporadically.
Just like targeted physical therapy can turn a weak knee into a strong one, regular writing practice can turn a good writer into a wonderful, well-disciplined one.
Writing Craft must be practiced and honed with regular writing.
Who has the time? I can’t! I don’t wanna! My inner Lazy Ass has said all that and more on various occasions.
The reality behind these complaints was: I’m scared. What if I fail? Won’t that make my writing so important I will want to die if I fail? (Feel free to insert your own special fear here.)
We all have these fears, just like we all have that dastardly inner critic. The fact is, no one said it would be easy. Writers are a tough breed and my money will always be on us. We just hitch up our version of titanium panties and settle down to get our work done.
Some great Craft posts:
“A Deeper, Richer Understanding of Craft” Part 2 by Larry Brooks (THEN read Part 1)
Your visual strength is what you rely on after you’ve gotten the words on the page. "Your vision" translates into editing.
I know wonderful writers who have lyrical prose and the ability to create fantastic worlds with engaging characters. Yet they are still fighting to be published. Why?
Most of these writer friends tell me it’s actually because their editing or proofing is not strong enough yet. Practice makes perfect and we’ll all get there if we keep at it and build a powerful writing team to provide help when we need it.
There is a reason why Oscars are given for film editing – it is the art of separating out the unnecessary footage to keep the viewers hooked. It works the same with books.
There is a famous quote by Elmore Leonard that frustrates the hell out of most new writers: “I try to leave out the parts that people skip.” The structure of a story is a lot harder than it looks because we have to learn what parts people will skip and why.
Wherever you are on your writing journey, DON’T STOP. The best is always yet to come because we keep improving the more we do it. What you hear with your inner ear and see with your writer’s eyes will eventually be translated by the “musculoskeletal” strength of your Craft.
True Story
I heard Linda Howard speak at a writer’s conference in San Diego some years back and I’ve never forgotten her words. They meant so much to "baby writer me."
“Everybody dreams,” she said. “But writers are special because they write down their dreams. As writers, we can do anything and be anyone. You can be astronauts or spies or time travelers. Writers can go to amazing places and build imaginary worlds for others to visit.
“But the sad fact is that no matter how hard you try, the music and the magic of your dreams will never be equaled by the words you put on a page.
“Do it anyway.”
Every writer in that room started crying because it IS so hard to translate the grand scope of our imaginations into words on the page. The words never seem quite big enough or important enough to express the magic that lives inside our minds.
My hope is that, even on those days when you feel that all is lost, when you wonder why you ever believed that YOUR words were important, you keep at it.
Do it because you have to. Do it because you need to. Do it because the act of sharing those words is more than most people will ever attempt.
And finally, do it because no one else will have the inner ear to hear the words exactly as you do, the strength to birth them onto the page, or the vision to translate those words into the perfect story that floats from your heart to ours.
Do it anyway. You won't be truly happy unless you try.
What part of writing do you struggle with the most? Voice, craft or editing? I have the hardest time with structure and editing myself, and conflict and…Oh, sorry. Enough about me. What’s your writing albatross? Please share it with us down in the comments!
About Jenny
By day, Jenny Hansen provides brand storytelling, LinkedIn coaching, and copywriting for accountants and financial services firms. By night, she writes humor, memoir, women’s fiction, and short stories. After 20+ years as a corporate trainer, she’s delighted to sit down while she works.
Find Jenny here at Writers In the Storm, or online on Facebook or Instagram.
Featured photo purchased from Depositphotos. Branded in Canva.
I remember when finding something to read online felt like discovering a treasure.
Back in the 1980s, we had nothing like Google. If you were curious and a little techy, you might sneak into a bulletin board system in the middle of the night. Your modem chirped, producing a beautiful musical sound, and suddenly you connected to strangers who felt like friends. You’d browse through posts, download stories, and maybe stumble across a file that someone had written just for fun.
CompuServe was my favorite. It opened to the public in 1979, and by the time I found it, there were forums full of writers and readers talking about stories they loved. We didn’t worry about keywords or rankings. We shared links like secret handshakes. You found the good stuff because someone you trusted said, “You’ve got to read this.”
Reading felt like an adventure, not a transaction.
We didn’t scroll. We didn’t skim. We read slowly, like every word was meant to be there.
Those connections were often real and powerful. I made lifelong friends in those forums.
When the Robots Moved In
That all changed in the late 1990s when Google came onto the scene. At first, it felt magical. Suddenly, you could type in a question and the answer would appear, as if the internet finally knew what you needed.
Google officially launched in 1998, and its PageRank system was revolutionary. Instead of listing websites alphabetically or matching keywords, it ranked them based on how many other sites linked to them. Popularity became power.
It didn’t take long for people to figure out how to play the game. Writers and marketers learned to shape content in ways that pleased the algorithm. Headlines became formulas. Writers padded posts to hit ideal word counts. Keywords were carefully chosen, sometimes at the expense of flow or meaning.
And yet, for a while, creative writers held our own.
We weren’t chasing trends or stuffing posts with jargon, but we produced lots of good content. We told stories. We shared insights. We built blogs that grew communities, often without realizing we were checking the SEO boxes just enough to stay visible.
But the algorithms kept changing. It wasn’t just SEO either. The internet began shifting from open discovery to platform-driven visibility. Social networks and aggregators started choosing what readers saw.
As search engines began prioritizing domain authority, backlink networks, and structured data, our voices started to slip. Content farms and big media companies could outpace us on volume and technical polish. Eventually, even great writing was barely enough.
The Ones Who Vanished (and the Ones Who Adapted)
Some creators faded quietly.
The hobby bloggers. The zine-style websites. The personal pages filled with stories, art, and in-depth explanations of niche topics. Communities that once thrived on curiosity and connection found themselves buried under content mills and commercial optimization. For many, staying visible meant learning to out-game the algorithm. Not everyone had the time, knowledge, or desire to do that.
But fandom didn’t die.
It pivoted.
Writers and readers who once gathered on scattered forums and fan sites found new homes. Platforms like Wattpad, which launched in 2006, became hubs for serialized fiction and fan creativity. Others migrated to Archive of Our Own (AO3), a nonprofit, community-built platform launched in 2009. AO3 wasn’t just a backup plan. It was a statement. If the web wouldn’t make space for fan voices, they would build it themselves.
Writers adapted. They moved between platforms, followed readers, and found new ways to connect. That flexibility saved them.
But something changed in the process.
Discovery stopped being organic. It became managed. Curated. Quantified by algorithms.
Big corporations were putting up barbed wire fences to cordon off the wild frontier.
The Rise of the Skim
As SEO took hold of the web, something deeper shifted. Something that crept in slowly but changed everything.
Readers changed.
When the internet began rewarding content that was short, structured, and scannable, we started to read differently. Articles turned into checklists. Posts began with titles like “5 Ways to…” or “The Ultimate Guide to…” We trained ourselves to search for bold phrases and bullet points. We skimmed for answers instead of settling in for the full story.
Just like writers adapted to please the algorithms, readers adapted too.
We stopped lingering.
We stopped getting lost in the middle of a long, thoughtful paragraph.
We became more impatient.
We got used to getting what we wanted, fast.
Even fiction felt the pressure. Writers were told to hook readers in the first sentence. Page one had to sparkle. Page two had to deliver tears. That advice may still have value, but it came from a culture shaped by speed and distraction.
In 2023, a book called Smart Brevity offered guidance for writing in an age of limited attention. The authors, from Axios, championed getting to the point. There’s something useful about that. If you’ve only got ten seconds of a reader’s time, you learn to make those ten seconds count.
But when every sentence is optimized for speed, something else gets lost.
Nuance.
Rhythm.
Emotion.
The space between the words — the place where a reader pauses and feels something — starts to disappear.
We didn’t just teach ourselves to read faster.
Maybe without realizing it, we also started expecting less.
What Comes After the Skim
So here we are.
We trained ourselves to write for search engines. Then we learned to read like machines. In the process, we lost something.
But we didn’t lose everything.
There are still readers who want more than bullet points and summaries. They want voice. They want meaning. They want to be moved.
And that’s what writers still do best.
Even when the platforms shift. Even when algorithms rewrite the rules. Even when AI starts answering before anyone reaches our pages.
We can still write with heart. We can still connect.
That’s what Part Two of this series is all about.
Next month, I’ll talk about GEO (Generative Engine Optimization) and how AI is changing the way people find and consume content. We’ll also talk about what writers can do to stay visible, stay connected, and keep doing the thing that no machine can replicate.
This isn’t the end of the story.
It’s just the next chapter.
Have you noticed your own writing or reading habits changing over the last 20 years? And if you are younger, can you imagine a world without search engines?
About Lisa
Lisa Norman's passion has been writing since she could hold a pencil. While that is a cliché, she is unique in that her first novel was written on gum wrappers. As a young woman, she learned to program and discovered she has a talent for helping people and computers learn to work together and play nice. When she's not playing with her daughter, writing, or designing for the web, she can be found wandering the local beaches.
There's still time to sign up! We even have a few agent pitch appointments left! This is on GoBrunch, which will give you a glimpse of some of the new technology Lisa has been raving about!
(If you sign up after the symposium, you won't be able to join live, but you will be able to view the recordings.)
On December 18, 2024, I published Disrupting Book Marketing One Venue at a Time. It’s about my journey in learning to how to market my books, my discovery of a prompt that allowed me to use an AI tool to define my market, and how that clarified what I needed to do. Six months later, I’ve been doing consignment shops and in-person events with all that in mind. Now I’m going to share what worked for me at the in-person events I was at, what improvements I’ve made and ideas for the future.
Be Professional, Personable, but Stand Out
That seems like a lot. But it’s entirely doable if you have clarity on your brand, and what image you want to project to your customers. By that, I don’t mean to be fake. Think about what you want a stranger to say to a friend about meeting you and how you can earn that.
You can stand out in a lot of different ways.
Costumes
Some people stand out by wearing message t-shirts or striking costumes similar to what their characters wear. I wear comfortable clothing and statement jewelry (stuff I already love and feel comfortable wearing).
Accentuate What’s Unique
The books I’m selling have scenes set in real U.S. cities and if I’m in one of those, I have signage featuring pictures of those places that appear in my books and am happy to talk about how I researched those sites.
Shine a Light on It
There are dozens of chargeable lights appropriate for book tables available online. I bought two small “spot lights” but discovered that when pointed at my books, those lights effectively blinded me. A clip on, overhead light worked much better. String lights worked well for some vendors.
Must Haves
There are some universal must-haves when you are selling your books at events. This does not include things that are unique to your health or comfort. Always, take care of you over the arbitrary lists someone else devises.
A Cash Drawer
The number of people who use cash is far less than it once was. However, I’ve had at least one customer who paid cash at every event. Carry the amount and type of change you expect to need for the prices of your books.
Software for Credit and Debit Card Purchases.
This is how most people pay for their purchases, so it helps to have this. Practice using it. A slow and awkward attempt to use it will leave a less favorable impression on your customers.
Venue Specific City and State Sales Tax Rates
How do you know when you must pay taxes? An internet search or call to that city and state government will give you all the information you need. Plan ahead. Some states require a “certificate” that shows you’ve registered with the state. Applications are usually easy but apply early so you don't have to fret over paperwork not yet received.
I calculated my prices to include the highest local city tax. That covers my costs and builds a little cushion for unexpected changes in tax rates. Most of my customers expressed gratitude that the price they saw was the price they paid.
A Backup Power Source
You’ll need it if you’re running a lot of sales on your smart phone or tablet or to keep your display lights on, particularly if the event lasts more than a few hours. I started out with a hand-held power brick and ended up buying a portable power station capable of running or charging all my electronics.
The WiFi Password AND Alternate Access to the Internet
Most venues provide free wifi. Ideally, the organizers will inform you of the password at check-in. You may have to ask for it. However, you may find that the service provided isn't reliable or is much slower than that of your personal Hotspot.
Comfort Measures
Wear comfortable shoes and bring an anti-fatigue mat or two to stand on. I started off with comfortable shoes but without an anti-fatigue mat. It made an enormous difference for me at the next event.
A fan and a sweater or light jacket. Event spaces are too hot or too cold. A handheld fan may be just the thing you need to be comfortable. If you expect to have electricity or you have a backup power source, bring an electric or USB fan.
Newsletter Sign-Up
A simple sign-up sheet will work, but you can also have an electronic tablet for customers to use. Some customers prefer to use a QR code. I have both available at my table.
There are plenty of sites that allow you to create a QR code for free. If you want tracking ability or a special design, you may have to pay a small amount to get those features.
Table Matters
I can’t tell you how many authors I observed slapping together a table display at the very last minute at the event. Sadly, their displays did not show their books to their advantage. Did that affect their sales? I don’t know, but I think putting thought into your display before you get there can’t hurt.
Personally, I did a lot of research about how other authors set up their tables and what kinds of products I could use for displays. Then I “played” with those things. I got a table of the same size I’d be using at the event and tried several distinct set-ups until I found one that was stable, clear, and was pleasing to me.
Why stable? Whether the event has a vast crowd or is scarcely attended, someone will bump into your table. Sometimes, many people bump into your table. You don’t want displays that will fall over or worse, fall to the ground and create a commotion. That’s the wrong attention for you and your books.
You can attract the eye of potential customers by displaying your books in varying heights, with lights, and by using color. It’s funny how people behave. You might have a fantastic display stand, but some people will hesitate to pick up a book from a display stand and instead pick up the one laying flat on the table. Others will do the opposite. I have had many attendees mention my attractive book covers and the colored scarves I use on my table. (Most people use black table cloths as they are practical in not showing dirt and don’t clash with other colors.)
Don’t count on people reading your signs. I’ve had people seeming to stare at my signs, then ask a question that was answered on the sign. Realize that a book fair event can be overwhelming for the customer. Just smile and answer their question.
One early mistake I made was I set up my table in a way that hid short little old me if one followed the general flow of traffic. Now, I check out the direction of traffic and try to set up my table in a way that favors traffic flow.
Customer Relations
I’ve been to several events where I sold my books at the location on someone else’s table. Sales there varied widely. Sometimes it was only one book, a couple times it was several books. Where I appeared as a speaker, I sold more than a dozen books. Are these great sales? Depends on what your goal was. I defined my goal ahead of time and met it.
When I am selling my books, I treat every potential customer like they are the most important person in the room. I want them to enjoy interacting with me, talking about books, or about my books. When a new customer passes, I find something I like about them—their smile, the shirt they’re wearing, the book they’re carrying, etc. and I watch their body language. If they pause or make eye contact with me, I’ll give them a friendly hello and give them that compliment. If I don’t feel I can make a genuine compliment, I start with a question I’ve prepared ahead of time.
Possible questions:
What are you reading?
What do you look for in books you want to read?
Are you from this area?
Some people ask what genre the potential customer reads. I’ve found most people will answer “everything,” which is a conversation killer. So I’ve started asking questions like "what do you look for in books you’d like to read?" Or "what are you reading now (or last read)"?
And I have responses ready for potential answers — "Oh, you like strong female characters? My book has a female character who starts out spoiled and kind of weak, but she grows into a strong young warrior who fights for freedom for herself and others." (This kind of response must be the truth.)
You're A Customer, too
Be a good customer to the event organizer. Supply the organizer with any requested materials (bio, photos, book covers, etc) promptly. Share the event on social media. And when the event is over, send a thank you note. It takes a lot of time, energy, and money to put on even a small event. Let them know you appreciated the work they put in.
Things I Wish I’d Done
Checked for Competing Holidays or Events
Events on holiday weekends can be very good if they’re tied into the holiday and terrible on some holidays. One event I took part in took place on Mother’s Day weekend. Very few people came to shop for books.
Checked Locations Before I Paid for a Table
The old saying, “location, location, location,” is especially true for events. Knowing the location can help you plan the number of books you bring, manage your expectations, and assess whether the event is worth your time and money. Yes, I paid for a venue that was more out of the way than I'd guessed and attendance was low.
Understood How Much Space I'd Have
I’m a word person. I am not a visual person. So when I read a table space five foot by five foot, I thought that’s enough. But you need space for you and possibly an assistant, the table, and any supplies you bring in (unless you want to take boxes back to the car.) If there's not enough space for you and your assistant to be comfortable, it will show to your customers. (Don't ask me how I know this.)
Had a System for Packing & Unpacking
Both set up and take down can be chaotic. My first event I had packed books by title. Unfortunately, that meant every time I sold out of a different title, I had to drag out a different box.
I thought I packed well for that first show, but to set up that table, I had to open almost every box I brought with me all at the same time.
I changed how I pack my supplies and books so now I open the fewest boxes I can at the show. For me, that means designating one box my “set-up” and one is my “working” box (cash, receipts, snacks, etc). And as I said earlier, I pack a few of each title in every box of books. This plan allowed me to be more efficient at later events than I was at my first few.
Had a Plan for Snacks During an Event
I packed a small cooler with a sandwich and chips and plenty of water. The sandwich worked okay, but after talking for a couple of hours, my dry throat made eating more difficult than it needed to be. The salty-greasy chips meant a lot of hand sanitizer. And eating a full-size lunch made for at least one awkward moment when a customer came to my table. In the future, I will try bite-sized, individually wrapped items.
Had an Itemized Inventory
For my first sale, I inventoried my books several months ahead of time, ordered books, and got them in plenty of time. What I didn’t do was make a list of all the display items I took with me.
That would have helped me pack in a more efficient way both pre- and post-sale.
With no list to double check, I couldn’t be 100% sure that I’d packed everything (I did) or that no one walked away with something. I was lucky and did not have any shoplifters. I’ve not experienced a lot of shoplifters at book sales, but general sales events where there’s a mix of products for sale are a different story. Keep your eyes on your products, your customers, and keep your money/credit card sales devices out of sight and reach of customers.
Post-Event Evaluation
Writing up an evaluation of each event immediately after it will help you plan for the future. Of course, this evaluation will include your gross sales and net income, but you also want to not what worked well for you and what didn’t. Make note of who the organizers were, how easy or difficult they made your job. Include notes about the location, who you met, what you need to followup and anything else you’d want to know in the future. Your future self can use that information to make decisions about which events to attend next.
Things I Wish All Event Organizers Did
Several events I attended were first or second time events by the organizers. That means there were things done or not done that affected how smoothly the event ran for vendors. Some events were very professional and helpful to the vendor. Some had a few problems.
General Information
When recruiting vendors, give enough information that the vendors can make an informed decision. Location, number of spaces, the history of this event in this location, and the crowd numbers (estimates are fine) from previous years help us make informed decisions.
Send basic information to the vendors a month in advance with visuals the vendor can share on social media. Height restrictions, any restrictions on covers or genres of books, etc. Where to unload and where to park one's vehicle are vital to everyone selling at or attending the event.
Allow Reasonable Space Per Vendor.
I understand organizers need to squeeze the maximum number of paying vendors in the space as possible, but from now on I will favor vendors who plan their rental fees and space, so it is comfortable for everyone.
Have a Check-in for Vendors.
A check-in process allows organizers to help the vendors and themselves.
ID tags.
Those ID tags help everyone, even potential customers. Without the tags, you or your customers may spend frustrating minutes searching for help or information. So please, have tags that indicate who are vendors and event staff.
A Map of the Layout.
At check-in, organizers should hand each vendor a current map that tells them where their station is, where the bathrooms are, and any other logistic information such as the customer entry point, fire exits, etc. A digital map is great, but there’s always someone (me) who has devices that don’t share email or they forget the printout they did at home. Providing a map helps reduce the chaos of vendors finding the wrong space or hunting down organizers to ask “where am I supposed to be?”
Label Spaces and Tables that Correspond to the Map.
Having to track down the organizers and ask where your table is can take a lot of time and lead to frustration for both the organizers and the vendor. One event I attended had taped off all vendor's spaces with painters tape.
Clear labels also keep vendor disputes to a minimum.
Changing tables and spaces on the fly just before the event can lead to some unhappy vendors. At one event I attended, my neighboring table had an assistant who set up her eight foot tall banner in a manner that blocked my table from oncoming traffic. Fortunately, when she arrived, she noticed and moved the banner behind her table.
A Post-Event Satisfaction Survey for Vendors.
You can’t know all the things that went right or went wrong in an event. And you can’t fix or repeat those things if you don’t know. Ask for feedback. If your organizer doesn’t ask for feedback, suggest that they do. If they are resistant or refuse, consider an event by a different organizer for your next engagement.
Minimize Noise.
Many event spaces are loud and have echoes. Music at a noisy event like a book fair isn’t a good mix. (Don’t ask me how I know.) Vendors already push their voices to the edge, competing with the general noise level of a couple dozen vendors in the same large space. Adding piped or live music in the same room isn’t fair to the musician, the vendors, or the customers.
DON’TS
Arrive Late.
Sometimes unexpected reasons delay you. But late arrivals create chaos for the late person and any vendors and customers around the late person’s table.
Plan to be there with plenty of time to set up prior to the opening of the event. Offer to help your neighbor vendors when possible. Offer to help the organizers set up.
Don’t Poach Customers.
Pay attention to the customer—is that person talking to someone at another table? Shouting for their attention and insisting they come see you is “poaching.” Shouting at customers may also drive the customer away from your table and any table near you. Just don't.
Don’t Assume.
Often event spaces charge extra for tables, electricity, internet service, or for labor (helping you, setting up the space beforehand, etc.). If the organizer has not sent you specific information about those things, ask. Assumptions will likely cause you distress on the day of the event.
It shouldn’t need said, but don’t light candles or other sources of flame (use electric ones if they fit your brand). And don't create so much sound or light that it's disruptive or painful for other vendors around you.
Don’t be a Smarmy Salesperson.
Shouting your tagline at passing potential customers may draw customers to your table, but they won’t be your customer unless they were already interested. And you’ll likely anger your neighboring authors. Be polite. Be genuine. If you don’t easily strike up a conversation with strangers, prepare a list of potential topics before you come to the event.
Don’t Ignore Your Neighbors.
Introduce yourself. Ask what their books are about. If appropriate, give them a compliment. Offer to take pictures or cover their table while they run to the bathroom.
Don’t Leave Litter.
Be prepared to clean up your area. I take a trash bag with me and am prepared to take it home if the venue doesn’t have enough trash receptacles.
If you are able, offer to help clean up after the event.
Don’t Sit and Stare at Your Phone.
Don’t cross your arms over your chest. That’s a very closed position that most people will avoid.
Stand. Smile. Have an approachable manner and posture (pleasant, comfortable, open). But also don’t intimidate potential customers with a stare down.
Don’t Complain About the Event.
If the organizers ask you for feedback, give them constructive feedback in a polite and helpful way. You don’t want to burn bridges with an organizer who wants to learn and do better.
Was It Worth It?
If you ask if any of the events were profitable, I’d have to say no. However, while I didn’t break even at the event, the long tail of sales on Amazon after each event got me over or close to over. For each event, I compare it to my ROI from Amazon Ads. In each case, I spent no more per in-person sale than I did for each Amazon sale…and in several cases I had a much better ROI at in-person events.
I learned which tagline intrigued people the most, what topics interested people more, and which approaches worked best for me.
Watching people read my book blurbs was good for my writer's soul. *smile*
Looking at other vendor’s table set ups and listening to their pitches helped me refine mine. A couple gave me some superb ideas. (A tv tray behind the table for your cash drawer and drink or food was brilliant!)
Know your goal(s) before you go. I’m at the beginning of my journey, so for me, my goal was to get more readers. And that I did.
I also made connections at each event. Once was with a podcast. One was with a bookstore owner. I also connected with other authors, other event organizers, and a couple of customers asked if I would speak at their school or organization. Of course, I said yes.
My goal of finding more readers is happening and I’ve gained a lot more. I’m playing the long game on a small budget, and I can say yes, for me, it has been worth it. And I’ll keep changing my goals and playing that long game, disrupting book marketing one venue at a time.
Have you done in-person sales events or plan to? Please share your tips and questions.
About Lynette
Lynette M. Burrows is an author, blogger, writing coach, and Yorkie wrangler. She survived moving seventeen times between kindergarten and her high school graduation. Her stories weave her experiences into speculative fiction stories that balance character growth with thrilling action and social themes.
My Soul to Keep is book one of an alternate history dystopian trilogy about a young woman of privilege who in her desperation to avoid her pre-planned life, escapes and ends up in a no-win situation. She faces a choice: return to suffocate under the rules of her society or fight for her country and her life. Book One, My Soul to Keep, and Book Two, If I Should Die, are available at your favorite online book seller. Book Three, And When I Wake, will be published in late 2025.
When Lynette’s not writing she avoids housework and plays with her two yorkies. They live in Dorothy’s home state of Kansas. You can follow Lynette on her website or her Facebook page or Sign up for her newsletter.
