Book Marketing Tips and Author Success Podcast
Ready to supercharge your author journey? Join bestselling author and book marketing maven Penny Sansevieri and savvy publishing insider Amy Cornell for lively, no-nonsense conversations filled with smart strategies, creative inspiration, and publishing know-how you can actually use.
Whether you’re self-published, traditionally published, or somewhere in between, this podcast delivers real-world advice to help you sell more books, build your platform, and thrive in the ever-evolving publishing landscape. From clever promo hacks to critical industry insights, each episode is designed to move the needle on your success.
Fresh ideas. Actionable tips. Unfiltered talk.
If you’re serious about your author career, hit subscribe and tune in—your next big breakthrough could be one episode away.
Book Marketing Tips and Author Success Podcast
Hook, Line, and Bestseller: The Art of the Elevator Pitch
Ever wondered why some books get noticed while others gather dust? The secret might be simpler than you think: a powerful elevator pitch.
In this eye-opening episode, Penny and Amy reveal how one author transformed her fortunes at a writers' conference by crafting a compelling elevator pitch – going from zero interest to landing both an agent and a publishing deal for the exact same book.
The hosts break down exactly what makes an effective elevator pitch, walking you through the essential components. They tackle common mistakes authors make, from drowning pitches in unnecessary details to relying on generic descriptions like "it's about love and loss" (cue the buzzer sound!).
Through before-and-after examples across fiction, romance, business, and memoir genres, Penny and Amy demonstrate the dramatic difference between mediocre and magnetic pitches. They offer practical exercises to help you create your own winning pitch, including recording yourself, testing on strangers rather than supportive friends, and creating tailored versions for different audiences.
Whether you're pitching to agents at a conference or marketing directly to readers, this episode provides the tools to make your book stand out in seconds. Ready to transform how you talk about your work? Your perfect elevator pitch awaits.
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Hello and welcome back to the Book Marketing Tips and Author Success Podcast. This is Penny Sansonary, I'm Amy Cornell, and we are really excited. We are so, so, so close to hitting that 100 mark. Maybe even when this show drops we'll have hit our 100 ratings and reviews, which we have. You guys, we've asked and our awesome listeners have delivered. So we're at like 98 as of the show recording. Very excited about that. Also, one quick announcement we are maybe this will roll out by the time that this episode hits, I don't know but we are very close to offering the ability to text us your thoughts about the shows or show feedback or ask us a question. So what we wanted to do with that is answer a question on the show, so during the show. So you'll have the ability just to text us one or the other, and that's coming very, very soon. So I'm very excited about that, this episode.
Speaker 1:I love elevator pitches so much. It's weird, actually, how much I love elevator pitches. I actually taught so some years ago for the Whidbey Island Writers Conference, which is not a conference that happens anymore, which is a bummer but I taught a three-hour pre-conference elevator pitch class and so helped everybody narrow down their elevator pitches and one of the attendees was really, really struggling with her elevator pitch. She got it nailed down. She did a great job. She got it nailed down so well that during the conference she pitched an agent for with this elevator pitch she got an agent and she got a publishing deal. So elevator pitches are.
Speaker 2:This is where I feel like I need to say in like a low, quick, sped up voice, like not all results are typical.
Speaker 1:Results may vary.
Speaker 2:Yes, yes, Results may vary. Please consult with your doctor.
Speaker 1:That's great. That's great. I love that. Yes, results may vary, but that is so cool. Yes, that's great.
Speaker 2:I love the results of it, mary, but that is so cool. Yes, right, oh my gosh, like I can't imagine she even slept that night. What a wild ride.
Speaker 1:What a wild ride. Yeah, and she had been to this conference previously using the original, and I don't even want to call it an elevator pitch because it wasn't. She had an introduction and she had used that previously and she never got any interest. So same exact book changed what she had which is probably like a five paragraph introduction, which is way too long, into a short, succinct elevator pitch. And boom, she got a deal. So an elevator pitch, even though results may vary. I love that. You added that. But you know, elevator pitches can absolutely change your life. And here's the thing, though, too Sometimes, like, I haven't been to as many in-person writers' conferences and I miss that.
Speaker 1:But you know I definitely have some on the schedule, so I'm looking forward to that. But sometimes, like, you'll go to writers' conferences and you all listening. If you've been to a writers' conference, you know I definitely have some on the schedule, so I'm looking forward to that. But sometimes, like, you'll go to writers' conferences and you all listening, if you've been to a writers' conference, you know what I'm talking about. And you ask an author what their book is about, for example, and sometimes they'll say well, it's tough to describe, eh, wrong answer, I don't really know. Well, it's about a lot of things, eh wrong answer.
Speaker 2:I know Penny's like Simon Cowell. She's like got her button ready. I've got.
Speaker 1:Let me tell you what I go to these conferences. I've got in a very nice way, like I've got my button ready, like get off the stage, stop it. Here's the problem we all have and this is not a new thing, this is not a 2025 thing, but we all have short attention spans and they're shrinking all the time. Sorry, but it's true. Right, can you describe your book in one sentence that makes somebody want to read it? Unfortunately, I think the majority of authors will say no, right, yes, but an elevator pitch, and it doesn't necessarily have to be one sentence, like it can be two sentences, maybe three. Right, we're going to look at some elevator pitches towards the end of the show, but your elevator pitch I mean, amy, you and I can rattle off like your elevator pitch can be used everywhere.
Speaker 2:Oh, yeah, I mean, it's also the foundation for so many other things too, oh, for sure?
Speaker 2:Yes, yeah, I mean, it's just one of those things. It can even go in your the list could go on forever, but you could really get creative with it, because the whole point is that it's short enough that, out of context, without knowing anything else, people are interested. Yes, and so and that's what you have to think about is that this is something that really and that's a key point too it should work out of context. You know what I mean. It needs to be one of those things where, no matter what the situation, if you presented that line to somebody, they go. I want to know more about that.
Speaker 1:Yes, yeah, yeah, exactly. That's the. That's the thing about an elevator, that's the beauty of an elevator pitch, is that it not only should it be, should it make sense completely out of context, without seeing your book cover or your website or anything about your book.
Speaker 1:But it's also usable in so many different ways and I know we're going to talk about that later on in the show. But I mean, you can use and reuse your elevator pitch everywhere. A really good elevator pitch should be used absolutely everywhere, and, in particular, at writers' conferences. Man, this is a real like. If you want to go to some writers' conferences, this is a really, really good tool to have in your arsenal. Honestly. Really good tool to have in your arsenal, honestly, because people will that's the. You know you're there to learn about publishing and marketing and people will ask you what your book's about. Boom, you have this distinct elevator pitch. It's great. So that's part of the reason why we wanted to do the show, not just because I have this weird attachment to elevator pitches. But so, amy, let's talk about why did you take the first one when? So why elevator pitches matter? I know we talked about the short time span and everything, but, um, what else did we? What else did we miss? Why elevator pitches matter?
Speaker 2:Well and I think this is something else too is that a lot of times and we this is something internally that we talk about all the time is that when I think specifically for when you're pitching influencers, media, whatever that is you have to remember that these are not everyday readers. These are people that are in the business and I think an elevator pitch is I mean, it's great for readers because it's exciting and fun and interesting and it's you want them to think like, oh my gosh, they know me, they're speaking right to me, that's exactly what I'm looking for. But, specifically when it comes to your marketing and promotion and you're looking to get coverage influencers, media entities, people that are potentially going to interview you this is not new to them. In fact, they get pitched thousands of times a month, and so the ability to have a really strong elevator pitch that shows them that you are unique, but that also you respect their time. Do not treat the media and influencers and things like that like an everyday reader.
Speaker 2:I think that is something that a lot of authors forget and they approach everybody the same way, when, in reality, influencers, media, people like that that are used to this, you need to remember that this is what they do for a living. They are not going to sit there and read multiple paragraphs. They are not going to let you take up five minutes of their day trying to convince them that your book is what they're looking for. So that elevator pitch not only shows that you understand what's important or interesting about your book, but it shows that you respect their time, their position, what they're potentially offering you. I mean, it's very nuanced but it makes such a big difference. So your elevator pitch is really key to securing coverage and piquing the interest of thought leaders and people like that, because it speaks to their unique position and how they approach doing their work, and I think that cannot be underestimated Absolutely. That's, absolutely that's very, very true.
Speaker 1:So if somebody were to ask me you know, okay, where do I start to create an elevator pitch? I would say first off, if you've written fiction, think of the one core piece of your book. Without that your book literally would not exist, right? So that's the first piece. You have to identify what that core element of your book is. Now for nonfiction, it is that one element that you bring to the table with your topic that sets your book apart from everybody else, yes, but also speaks to the reader's need. Okay, so that's a big piece of it. So the hook, obviously. So the core ingredients of an elevator pistol.
Speaker 1:Let's just go through like the hook, the protagonist or the subject, the conflict or the problem, right? So what's at stake? And then the unique element what? Why is it different? And you know this is an interesting question for you nonfiction authors out there. When I'm in consultation with authors, I will a lot of times ask them okay, so you wrote a book on whatever it is dieting or dating, or banking, you know, saving money, whatever how is your book different from all of the other books out there? And unfortunately, a lot of times they don't really have a clear answer. So figuring out how your book is unique is mandatory for a great elevator pitch. I mean, amy, would you agree? Oh yeah, absolutely, you know.
Speaker 2:Yeah, without a doubt.
Speaker 1:So common mistakes to avoid and I know you have very strong feelings about this. Do you want to start this off about this? Do you want to start this off? Yeah, I mean.
Speaker 2:I think and this is something we I mean elevator pitches specifically is not something we always work on with every client, unless it's, you know, needed like that one particular element is absolutely needed or is separate from everything else that we're doing. But a lot of what we do in terms of retail optimization dips into this. You know, and it's a conversation that we have doing, but a lot of what we do in terms of retail optimization dips into this. You know, and it's a conversation that we have with clients a lot about when we're finessing their description in the retail page, and this absolutely comes into the elevator pitch as well. But you get so close to your own work that your content that you're presenting to potential readers, buyers, influencers, thought leaders, media, things like that it's very easy to overload those with names and backstory and detail that is not going to make sense to anybody. Yet You're so close to your own work, everything makes sense to you. So sometimes it's really hard to be objective about what is going to make sense to somebody as a first impression.
Speaker 2:You know, without all that additional, and so I think that is a that's a really big one that I always look for when I'm assessing someone's retail page, their description, you know, their elevator pitch, all of those things is will this make sense to someone if they don't know anything else than what they're reading here? Yes, and almost always there are ways to finesse it, refine it and make it better. Just based on that alone, you know.
Speaker 1:Right, exactly, exactly, and I think that, and with that, so the other piece of it is is that so overloading it with? So you cannot have too much backstory? If you have to explain the entire backstory of a book before you can explain the book, that's a problem, right, but the other, the flip side of this, is something that's too generic. So we see this a lot on Amazon retail pages you in particular, that it's about love and loss, yeah, yeah.
Speaker 2:It's like, well, okay, you and three million other books out there. Thank you, Right.
Speaker 1:So I think you have to really. I mean and this is where this starts to get hard we're going to give you some ways that you can create your own elevator pitch. I think you have to, really. I mean and this is where this starts to get hard we're going to give you some ways that you can create your own elevator pitch, and we'd love for you to share your elevator pitches with us when you create them, because I'd love to see them. Sounding too generic loses interest almost immediately.
Speaker 2:Because they've read it before, they've seen it before, right? They probably own three other titles that made seen it before, right? They probably own three other titles that made that same promise.
Speaker 1:Right, exactly, and I see this a lot in particular with memoir, right? So when I tell people, so the first two letters in memoir are me, right? So, in order to sell your memoir effectively, you have to make it. Not about you, so not about me, but you have to make it about what is the reader actually going to learn? And a lot of times when I talk to somebody about their memoir, they'll say, well, it's about love and loss. Okay, great, right, sometimes it's good, we're not on video, I know, I know, I know.
Speaker 1:But here's the thing, though, too, is you're competing with stories of and now I'm going to just show my, my true crime, love, because we are both very addicted to true crime. Sharing the shelf in terms of memoir, of stories with young women who were locked in a basement for years, right, I mean, and not to say that your story isn't great and something that you, you know, that you want to share, and you want to share your story. You're going to have to dig deeper. Right, you're going to have to dig deeper. You're also sharing the shelf of, you know, memoirs where people, people who have survived the Holocaust, for example right, sounding too generic, big, eh, that gets the Simon Cowell button for sure, I know.
Speaker 2:That's a very good point, penny, too. And again, not that this is not designed to make anybody nervous or to feel down or anything like that, but I love that you made that comparison because it's true, you know, when, especially, like you said, memoir, business book, I mean anything, nonfiction you have to remember also that people with household names and celebrities are writing memoirs and nonfiction titles, you know, and even they have a hard time selling tons of books. Yeah, so you have to make sure that you are not just replicating what everybody else says their experience was, you know, and it sounds to someone it's like well, it's my experience, so it is super unique. And that's where putting in a little extra time to do the work to make sure that you accurately communicate what that uniqueness is, instead of reusing phrases that are, you know, candidly, just overdone, you know.
Speaker 1:Right, right, exactly, I think that's something, and you know Ily just overdone. You know, right, right, exactly, I think that's something, and you know I also. So we talked about going on and on and on about. That's not an elevator pitch, so we don't have to, we don't have to necessarily revisit that. But I think the other piece of it is forgetting who your audience is and forgetting how you know if you've written nonfiction, how you know if you've written nonfiction. You're speaking to a particular pain point that your reader is facing and you need to make your elevator pitch about them and not about you.
Speaker 2:Mm-hmm.
Speaker 1:Right.
Speaker 2:Look at you go. I know I love that, though it's so true Because, again, too close to your own work. Nobody's doing it maliciously, but you know you, you know your experience. That's how elevator pitches, descriptions, retail pages end up actually excluding the exact people that you are looking to attract, because it becomes so about you. They can't even envision themselves in what you're trying to sell them For sure. They are no longer a part of the fantasy, the problem solving the story. You know what I mean. It's no longer about them, and I think that is something that's so easy to miss. And again, it's not malicious, it's just tough when you are so close to your own work.
Speaker 1:Yeah, it is tough, and I think that one of the other things that we're going to get into how to create an elevator pitch and give you guys, give you all some examples. But I think the other piece of it, though, too, with elevator pitches, that a lot of times so the pushback that I hear when I coach authors on elevator pitches is that they don't want to give away the entire book. And we're not asking you to give away the entire book. What we're asking you to do is give away you know, whet their appetite enough where you are giving away the hook, the thing that's going to anchor your reader to the story, like, oh my gosh, I have to read this. You know, and that's the thing that gets us.
Speaker 1:You have a few seconds to really grab somebody's attention. Don't hesitate to give away a major plot point. I'm not asking you to give away the ending or the solution if you've written nonfiction, but you're going to have to really dig deep on this, right? So, first piece of this. All right, so you're going to sit down, write out. You can so write out three different versions the first one should be a minute, then 30 seconds, then 10 seconds. Your best, the best tip that I can give you in this particular sequence of tips to create your own elevator pitch is edit, edit, edit, edit, because that is going to be your absolute best friend. Mm-hmm, 100%. Yeah, amy, you want to take the next one?
Speaker 2:Yeah, I love this one, and we've mentioned this in different shows before for different reasons, but it's never a bad idea to practice saying them out loud, because if it feels clunky, it is clunky. I even recommend going so far as to record yourself. You can just do it with your phone. Nobody's going to see this unless you really want to. Good for you. You are a braver person than I am.
Speaker 2:It could make for some fun content online, though, depending on what your online persona is. But truly video yourself too, because the added that's kind of a next level version of presenting it too, because you're going to be going no, my face looks crazy, but it truly it sounds silly. But even trying to present yourself to the camera in a stronger, more successful, more assertive way will make your delivery better as well, and it really does all play together. So definitely say them out loud. But even consider going next step and just recording yourself, because there is that next level pressure. When you're recording the way you deliver it really it can change your voice, it can change the cadence, and even that the cadence in your voice and all those things are affected by the words that you're using in your pitch, and so it really does all come together Right.
Speaker 1:But the other piece of it, though, that I just want to reiterate is even just saying it out loud without recording it. So I will do this with my book descriptions, and sometimes, when I first write them, I mean I know that y'all are like, oh, you're marketing experts. The first thing that you do is great. That's actually not true, but the first description that I write for my book and I read it out loud, I'm literally like I don't know how I'm allowed to go outside. It's so weird. So reading it out loud is really helpful.
Speaker 1:The other thing so test it on somebody who you don't know, who is unfamiliar with your book. And here's the thing Don't ask neighbors, don't the thing. Don't ask neighbors, don't ask friends, don't ask family, because they'll be like oh, they love everything that you do Because they want to support you. Ask somebody who can be really honest in their feedback, right? Don't ask people in your writer's group either, because they also want you to do. You know what I mean. Like go to a bookstore, yeah, you know. And if you and this is why you know you should definitely be friendly with your local bookstores Even you know local libraries what Yep?
Speaker 1:We said at the same time, even your librarian? It's like we're just thinking alike. That must be super scary for you right now, amy.
Speaker 2:And everybody listening. They're like, oh okay.
Speaker 1:And then the podcast just really derailed at that point. Test, yeah, test it with somebody who doesn't have a horse in the race. Basically yes, absolutely.
Speaker 2:I think that's brilliant. And then you also want to tailor versions for readers versus reviewers versus industry people. This kind of came up earlier when we were talking about how it really does need to be presented differently to different people, because different demographics are there to experience the book in different ways.
Speaker 2:You know an everyday reader versus an industry professional, versus a thought leader, an influencer, whatever, versus even somebody, a reviewer. It's all a very different experience for them. So challenge yourself to tailor versions specifically for those different demographics that you plan on reaching out to as part of your marketing and promotion, because that will also push you. You never know the one that you write for one. Maybe it's like, okay, wait that actually you could do some mixing. You never know what you're going to come up with, but pushing yourself to do those different versions is going to give you a better version overall, no matter what.
Speaker 1:Right Now. I completely agree with that and you're going to also see holes in, like, oh my gosh, this could have been better Like every time that you edit it we're not suggesting that you edit it endlessly, because that's also not productive but every time that you kind of, you know, whittle it down and change it around, you're going to be like, oh my gosh, this was so much better. Here's a really fun thing that I, when I teach these classes that I encourage authors to do, is practice on other people's books first. Sometimes it's easier to practice on somebody else's books. So you'll see, a lot of times authors will have elevator pitches on Amazon in their book description. Just jot those down and see if you can make them better, right, and that's something that helps you. So what that does is it helps you to kind of strengthen that elevator pitch muscle to learn what a good, tight, succinct, interesting, unique elevator pitch contains. And a lot of times it's easier to practice on somebody else's. You don't have to do this, but it's kind of a fun. You know, it's kind of a fun little exercise. Yeah, I love that.
Speaker 1:Okay, so your first draft of your elevator pitch. If it's really great, awesome, congratulations. Then you are magical. It's probably not going to be. So plan to spend a little. Like I said, I did a three-hour class on this. I mean, granted, we had a lot of students in the class, but plan to really, you know, spend some time with this. Read it out loud, as Amy said, and whittle this down and ask somebody for their feedback who doesn't, you know, have anything to do with your book or you, or somebody that you don't have to see on a regular basis, like your barista at Starbucks. What did we miss? In terms of how to design an elevator pitch? Anything. Did we miss anything?
Speaker 2:I don't think so. I mean, I think we gave them a decent amount of homework to work on, and I hope you'll enjoy it too, though, because this can be really fun If you have the right mindset. It really is something that you should embrace as a positive challenge, because, again, anything you do that forces you to communicate about your book in a more successful way is going to make everything else that you do for marketing and promotion better, I promise you, because marketing and promotion is already challenging enough as it is. It takes time, it takes effort. There is nothing worse than wasting that time and effort by simply going through the motions and not putting the best version of what you can offer people out there, you know. So don't just check marketing off your list, because it's already tough enough. Sometimes you know like that's just going to make it worse because you're not going to get the returns on it. So use this as a reminder to really dig in and get thoughtful about what you're doing, because your return on your efforts will be a lot better.
Speaker 1:Yeah, yeah, yeah, and so we have. I have. I was debating. I found this really great meme, particular for this show. I don't know if that's really going to translate if I say it out loud, so I'll save it to the end, just in case if the show ends up going off a cliff like, oh, what was Penny thinking with that? Let's dig into some before and after examples. So I'll start with the first one. We'll just take them. We have four of them. We'll just take them in order. So here's the before. This is a fiction book. It's a fantasy book about a girl who discovers she has powers. There's a war and she has to fight to save the kingdom from an evil lord. A little long, a little convoluted. Kind of lost me after the first sentence, the after a powerless girl discovers she's the kingdom's last hope against a dark sorcerer and using her magic may cost her life. So much better, so much better, right, mm-hmm? Yeah, take the next one.
Speaker 2:Okay, it's a romance example. It's a love story set in New York with two people who meet by chance and have to overcome obstacles. I know kind of generic, you know it's an overcome obstacles. It's like, well, what that's like literally every day for me. So what is going on here? Like I want to live in the fantasy, but the after two rivals in the cutthroat New York food scene fall in love if ambition doesn't destroy them first.
Speaker 1:That's a book that's very cool.
Speaker 2:I know so exciting and how you know just adding, you know, new York food scene just automatically gives you a visual to lock on to Right.
Speaker 1:Now, if you added to the end of this around the holidays, I would be buying this book off the shelf. I know.
Speaker 2:Penny's already clicking the link. She's no longer on the show. I'm handling the rest she's shopping.
Speaker 1:Thank you for listening Penny's shopping on.
Speaker 2:Amazon Exactly, but truly think about those little details that don't make it any longer but that add, that really drop people into a scene, or that let them visualize something, versus just teasing them with a concept.
Speaker 1:Right, right, exactly so. The next one I really wanted to take this one just because I read a lot of business books, and this is a nonfiction example, so before the before is it's a business book that talks about marketing strategies for small businesses.
Speaker 1:Like I know not getting that loan? There again we're getting, we're getting we. Here again we're getting the X buzzer. I won't be buying that one because it's just like well, that's just like whatever A practical playbook that shows small business owners how to double sales without doubling their workload. I'm already in, I know. Once again on Amazon. Amy's finishing up the show. I'm clicking the link. Once again on Amazon, amy's finishing up the show.
Speaker 2:I'm clicking the link, but it's true. I mean it talks about benefits. It hits on the pain point. Nobody wants to double their workload when they're running a small business. It really, in such a small amount of time, spoke volumes about what people in their target market are looking for.
Speaker 1:Yeah, because there's nobody that doesn't own a business, regardless of size, that doesn't want to double sales without doubling workload. Right, no, I don't have time for that. Right Like, oh no, that just sounds like no, right, I mean, that's like again, I'm already on Amazon. Amy's finishing the show.
Speaker 2:Right. And then our last one's a memoir example, which is perfect, because we kind of teased that one throughout the show. The example which is perfect because we kind of teased that one throughout the show. The before is it's about my journey through hardship, loss and finding love again. Nope, yep, and as we talked about, so many people experience that just literally every day. You know what I mean. Yeah, a lot of people don't find that book worthy. I hate to say it. It doesn't mean your story isn't, but the way you're presenting it. A lot of people go yeah, that's literally everyday life and there's not that emotional connection that they're making. You know. But the after one woman's raw journey from tragedy to triumph proves it's never too late to rebuild a life worth living. And look at the shift between the first one is it's my, my, my, this. Next one, one woman's. And then it's never too late to rebuild a life worth living. That is for everybody. You know what I mean. Like they are now speaking to the potential reader.
Speaker 1:Yeah, now you're speaking to a reader who has potentially sort of given up. Like you know, I've had my run and that's where you're and and you know even the after is great, but even with the after, you could still add a tiny little, like, maybe even just one word that depicts what that, what that raw journey was, right, right, you know what I mean, like a raw journey from being abandoned at birth or something like that. Do you know what I mean? Because now what that does is now you are narrowing down your audience even more, and one of the things that I think is worth closing out with the show is that it's never a good idea we talk about this in marketing all the time it's never a good idea to broad stroke everything. My book's for everybody. Everybody is my reader. No, absolutely. That never happens with any book ever, right, right, exactly.
Speaker 1:So a lot of times the pushback that I've gotten when I've taught elevator pitch classes is that this is too narrow. Narrow is really where you want to be Like. I know this sounds very, you know, like counterintuitive to marketing and I cite this a lot. So the chicken soup for the soul, guys, just as an example. Chicken soup for the soul. Everybody knows it, it's everywhere all the time. But when they started with their first book, they had a very core audience in mind and that was who they focused on that core Hallmark shopping, watching the Hallmark channel core audience who wanted feel-good stories. From that they built out this mega brand that we all know about.
Speaker 1:The more that you can narrow your focus, the better served literally, not just elevator pitches, but the literally everything will be Right, 100%. Trust me, trust us when we say that it could be one of the best things. One of the best things that you ever do for your campaign is to narrow your focus, and I mean this with whether you're running social media ads or Amazon ads. Imagine if you were running, let's just say, because Facebook is so expensive. Imagine you're running Facebook ads. You're like I'm just going to target everyone in the US because everybody wants to buy my book. Whoa, no, yeah, right.
Speaker 1:So all right, we really want your, we love your feedback and, like I said, I alluded to this the first, at the intro of the show we are going to have a. There's going to be a phone number where you could reach us we're very excited about it Um where you can send us your, your feedback on the show, um and uh, your questions and ask us your questions. But our contact information is in the show notes. So if you have an elevator pitch you want to send us, send our way. By all means, definitely do that. And um, and if it's okay to read it on the air, if you're comfortable with us reading it on the air, let us know in that email. That would be great. Thank you so much for tuning in. We appreciate this. Every Friday we are with you and hopefully giving you some actionable tips that you can walk away from and be a better book marketer and be more successful. Thank you so much for tuning in and we'll see you next Friday. Bye-bye.
