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.
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Book Marketing Tips and Author Success Podcast
Why Your Book Isn’t Selling: Categories, Covers, And Clear Hooks
You can run ads, post daily, and grind all week—and still watch your book stall. The missing piece isn’t more hustle. It’s positioning. We pull back the curtain on the quiet issues that throttle sales!
We start with the most common and costly mistake: treating categories like identity badges rather than traffic lanes. Amazon’s ecosystem pattern-matches behavior, so a miscategorized book gets shown to the wrong readers, earns letdown reviews, and falls into a negative feedback loop. From cozy mysteries that aren’t actually cozy to memoirs that read like prescriptive nonfiction, we show how small misalignments ripple into poor conversion and expensive clicks.
Then we reframe the hook as the reason to care, not a plot dump. If a reader can’t repeat your promise in one sentence, they won’t buy it and they won’t recommend it. We share practical ways to surface stakes, transformation, and genre signals at the top of your retail page. We also tackle covers: why “unique” can backfire, how milliseconds decide “for me or not for me,” and what it means to fit your shelf without blending into noise. Finally, we rebuild the description around a scannable promise and reader outcomes, and we tighten keywords to match how real readers search.
Walk away with a priority checklist: verify category and subgenre, pressure-test your cover against top sellers, craft a repeatable one-sentence hook, rewrite your description to promise value, and align keywords with market language. We’ve also added a quick alignment test in the show notes to help you spot gaps. If you’re ready to turn attention into sales and let the right readers find you, this conversation gives you the exact steps to get there.
And as promised in the episode here's your quick Alignment Test:
Score each from 1–5:
- Category Fit
- Cover Fit
- Hook Strength
- Description Clarity
- Reader Fit
Interpretation:
- 20–25: You’re positioned well — focus on visibility next.
- 14–19: One or two areas need tightening.
- 13 or below: You’ve got significant positioning friction (totally fixable!).
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Hello and welcome back to the book marketing tips and author success podcast. This is Penny Santiveri and Amy Cornell. And we are so second show of the new year. We're super excited. We hope that you really, we hope that you had a really good holiday season. If you're just now checking us out, you've just kind of surfaced from all the holiday hubbub. We get it. Um we're but we're but we're really glad you're here. I um I hope you all have our I hope your new year is is starting off spectacularly. Uh we have a whole series of shows. If you didn't check out the December 26th episode, we have a whole bunch of shows that we have outlined and not really change of the podcast other than check out that that episode. Definitely, it explains it better than I am articulating right now. But we really wanted to um make each each month a pathway for you, right? So we hope that you're going to be enjoying, you know, through January. We'd love to get your show feedback. Speaking of which, show ideas, show feedback, just want to check in with Amy and Penny, text the word podcast to 888-402-8940. We get so many responses from listeners. We love, we love being able to communicate with you directly. So today we are. So this is this is really interesting. Why your book isn't selling the hidden positioning issues that no one talks about. Although I would like to say that we talk about it on the show quite often. Um so the truth is that we're not, so we're digging into an uncomfortable, but on the upside, liberating truth. Many books underperform because they're positioned incorrectly, not because the author did anything wrong or because, you know, but because a lot of times it's it's really hard to see your book objectively. And marketing, and it's funny because when we were in the green room, Amy and I were talking about this, we actually had this conversation just last week. Marketing can can only amplify what's already there. So if the positioning is off, no amount of marketing or ads or whatever can fix that, right? We just had this conversation last week, I think.
SPEAKER_00:Yep, exactly. Yeah. Marketing can't fix what's wrong with your product positioning and how it's being perceived by your market, you know? That's not what it is. Yep.
SPEAKER_01:Right, exactly. So the positioning, so the positioning piece of it is how the reader immediately understands what the book is, what it's for, what it's gonna do for them, why it matters. We talked about this in the last episode, right? About how you have to be really crystal clear on what your book is and what it isn't. Okay. Do not leave it up to the reader to think to figure out what your book is, because if you do that, you're literally that this you're not gonna sell books. Full stop, right? Um and and it's a split-second decision. And Amy, do you want to do you want to just talk us through just the quick uh how what positioning break breaks down?
SPEAKER_00:Yeah, I mean it's your it's your first impression. So this is your title, subtitle, your cover, this is your category. Because believe it or not, while you might not think a lot of readers' shoppers notice that right away, they will 100% notice if it doesn't make sense. You know, so it seems like a very small detail on the retail page. But if they think your book is one thing, but then they see that little detail above the cover, you know, where I mean where it says exactly where your category, where it's placed, they're gonna go, wait, what? You know, that's it is important. Book description, absolutely. We cover this in a lot of other shows, uh, you know, but scanning, making your book description scannable. And that is such a there is such an art to using the right kind of language that makes scanning exciting. It's it's really hard to do, but it makes such a big difference. Your keywords, of course, and then your author brand signals.
SPEAKER_01:Right, right, exactly. So let's talk about the first one. All right, so failure number one, the book is in the wrong category or subgenre. And man, I'll tell you something. Of all the ones that we're talking about, I know we see we see a lot of different things, but man, we see this a lot, right? So Amazon's algorithm does not evaluate books holistically, it evaluates a pattern match, right? So if your book behaves differently than other books in its category, so the conversion rate, read-through, reviews, right, etc. The Amazon algorithm basically deprioritizes it. And the thing about categories is that categories I know a lot of times feels like feel like they're they are identity statements, right? They are not. So I know that you want to be, for example, the number one best-selling book in genre romance or whatever. Um, but maybe your book doesn't really belong there. And I think that's a conversation that you have to have with a marketing person. Because we have this conversation a lot. Categories are traffic lanes, they are not identity statements. And if you if you, you know, it's kind of like when you're, you know, you're uh any of you have used ways, and certainly we all we all have like direction things on our phones now. If you don't follow the traffic guidelines and you wind up in the wrong lane, you're gonna wind up in the wrong everywhere, right? So the wrong city. I mean, truly, especially like if you're driving through some some like metropolis like Los Angeles or something, God forbid, you're gonna wind up in like, I don't know, the beach when you wanted to be at the desert or something. Right. So if you choose the wrong lane, you're still gonna get impressions, but they're gonna be from readers who are essentially sorry, but primed to dislike the book, right? Yeah. So category misalignment creates a negative feedback loop. Right. Okay. The wrong readers buy. So here's your feedback loop, right? The wrong readers buy, their expectations aren't met, the reviews are skewed towards disappointment, right? The reviews are consistently like disappointed, your conversion rate drops, and your visibility throttles. Gosh, that was all heavy. I'm sorry, I know that was really heavy. Happy New Year, everybody. No, that's so true.
SPEAKER_00:It is so true. It's so true. Yeah. It's such an and I love this part of your notes, too, pennies. Sorry, I'm totally jumping in because it's like I'm chomping the bit on how emotional this is for authors a lot of times when they're doing it.
SPEAKER_01:Yeah.
SPEAKER_00:You know, and I can't tell you how many times I've been grateful that Amazon refuses to add upmarket fiction as a category because thank you. Everybody would want to be in there because it sounds very fancy and you want, but don't categorize your book based on what you like these weird hopes and dreams you have for the people that are reading it. You know what I mean? Right. Like you're not going to categorize it correctly if you're like, I want these people to love my book. It's like, yeah, but is that the book that you wrote? Because if that's not the book you wrote, then nothing's going to work, right?
SPEAKER_01:Right. Exactly. And you know what's funny is I see this a lot in mystery. Now, we do see it in every, I mean, granted, we see it in every genre. Like, I get it. We see it a lot in memoir too, where miss memoir gets missed gets gets missed a lot, which you'd think like memoir is just memoir, and but that's not always the case. Go back to most some of our memoir shows, and we've we've we've hammered that one home too. But so, but we see this a lot with mystery, is a great example. It's very top of mind. I talked to somebody last week. My book is a cozy. Are you sure? Like, are you sure it's a cozy mystery? Because you know, cozy mystery, there's this particular like there's nobody, like you can't, like the body that murder happens off camera. That's the first thing. Oh, well, the murder happened, everybody can see the the dead, the dead guy. Well, no, then that's not a cozy mystery. But this happens a lot, yeah. Right. Uh you and this is where like the where I like why I like to say the categories are not identity statements. You gotta, you gotta write, you you gotta understand who your market is. I'm sorry, now I'm like, I'm way I know you can't say this, but I'm literally like waving my arms. I'm like, I'm so so because Amazon doesn't punish bad books. I mean, it does. Yeah, basically. Yeah. It'll Amazon's not gonna slap you on the wrist, it's literally just going to sideline it and deprioritize it and not show it. And your ads are gonna cost money. So I guess Amazon does not publish bad books. I guess Amazon does punish bad books. I mean, you would think like we've seen some, you know, you and I have when we've done Amazon optimizations or whatever, where sometimes we'll send us or send each other links. We're just like, how did this book ever get published? Not any book that we worked with, let's just be clear. But in our, in our in our travels on Amazon where we've seen books, we're just like, how in the world did this book get published? So Amazon will pretty much let any book into their ecosystem, but they will deprioritize you. They will shift the algorithm to somebody else, they will make your ads cost 35 bucks a click because your category is wrong and your reviews are bad and there's no reader alignment.
SPEAKER_00:Right. Amazon wants to sell your book as bad as you want to sell your book, but you have to make it easy for them to do that.
SPEAKER_01:Thank you. Yes, that's a great, I love that talking point. Let's put that on a t-shirt. That's awesome. All right, failure number two. T-shirts for everyone.
SPEAKER_00:Failure number four. I know I feel like Oprah. The hook isn't clear or strong enough. And I love this because this is another one of those. We're probably gonna say that many times during this episode, where you get too close to your own work, and it's really hard to be objective about what the vast reader market for your genre is looking for because you are so focused on your book, which is fair. You are the author. That is quite literally your superpower. But working with a team can help you be a lot more objective about what the broader genre fan or topic fans are looking for, because it's not just one person, right? So even though there are formulas and things like that, there are still you, I mean, you still want to account for what they're looking for in a really fun, exciting, engaging way. And one of the biggest problems I see is that a book description feels more like a summary and not like a promise, and not like I mean, I like to think of them as written versions of like a movie trailer penny, even. Yeah. Sometimes, you know, it shouldn't be a description. I mean, it shouldn't be a summary because a lot of times the summary doesn't actually make sense to anybody out of context. I see that a lot too, where an author writes their own book description and there's so much in it that you really don't get until you get it, right? And it doesn't make a great first impression. You know, there's too many details that aren't necessary for the description because it doesn't make sense yet, but it doesn't lean enough into what genre fans or topic enthusiasts are really looking for. You're not hitting those notes. You know what I mean? So it really is like it's a really delicate dance of finding, like hitting all those key points. And readers don't really understand what makes the book special until they get involved in it. So again, this is one of those things where you really have to draw them in and make them a promise that they are not wasting their time. Because we haven't talked about this in a while. Books are not super expensive for the most part. I mean, granted, every once in a while we talk about how a book is wildly overpriced for what it is. Right, right. But for the most part, books are not major investments, but you are quite literally asking somebody to spend hours of their life. And very few of us have spare hours. You know what I mean? We have to be very intentional about what books we read because you're committing a lot of time to this.
SPEAKER_01:Yeah.
SPEAKER_00:So that's what you have to keep in mind. You know, I think it's easy to forget. Like, what? My book's, you know, five, six bucks, or the the paperback's$15. Most people can afford that. What's the big deal? It's not that. It's the amount of time you're asking them to spend with you and to invest in what you're promising them, right? Yeah. So it's huge. So the hook. The hook isn't the plot. I love this. The hook is the reason the reader cares. The stakes, the emotional payoff, the transformation. Many authors bury their hook in the middle of the description. They kind of like they want to build up to this big wow, like, you know, aha moment and forget that a reader may never get there. You know, that's not part of the first impression if you bury it halfway down in your description.
SPEAKER_01:That's so smart. I love that. I love that.
SPEAKER_00:Yeah. It's it's really one of those things where it's like, nope, you gotta. And again, we talked about scannability, you know, in our last episode, being able to scan and actually, and that again, that is a very delicate dance of writing a book description, where if you think you may get a second, maybe two if you're lucky, that somebody spends on your book page before they decide to move on. So you really have to zero in on what they're gonna pick up if they're scanning, and that is huge. And that is where you want your hook to be.
SPEAKER_01:Yeah, exactly. And you know, the truth is that if a reader can't explain your book in one sentence or can't absorb your book in one sentence, they won't buy it, they won't recommend it. Yes. So, and this goes back to, again, not to refer back to the the episode that we did on January 2nd, but we talked a lot about this too, is that you have to make it as easy as possible. You know, you have to make it as easy as possible, and you have to almost to some extent, I mean, you know, longer book descriptions look, I I know a lot of people have really long book descriptions on Amazon. Longer book descriptions don't necessarily mean better, right? So I'm not trying, I'm not telling you, like, hey, Penny told me to write a uh 3,000-word book description. That's not what I'm telling you right now. But you do have to, I would rather see you have a 50-word book description and have it and a hook that is just absolutely amazing and a description that is spot on rather than something that's a long and winding. I don't even know if you can put 3,000 words on Amazon. I don't think so. But I would rather have you see see something that's long and meandering and unfocused because readers are not going to spend the time figuring it out. 100%, you know, at the end of the day. Um, okay, failure number three. Uh cover doesn't match the genre. This is a big one. I don't know if we have to go into this like too much because I know we've done a bunch of shows on this, but covers are processed. So our mind is an image processor, not a word processor, which I know is awful since we're talking about books, but covers are processed within milliseconds, right? They'll readers will decide for me or not for me. And this is part of the reason why we talk a lot about, you know, you have to have a genre match with your cover. So you can, you know, if you are a big best-selling, you know, nationally recognized household name uh author, then maybe if you want to put like a daisy on the cover of your next thriller mystery book, right, right, um, you could probably do that and maybe you'll be okay, but I still kind of doubt it. I mean, you you have there has to be a genre match. And you can and there's a difference between, you know, a beautiful cover, um and actually a beautiful cover is kind of more dangerous, even than you know, than a mediocre one. Because if you have a cover and everybody's like, oh my God, your cover is so beautiful, your cover is so beautiful, but yet it's wrong for the genre. That's a huge problem. Whereas like with a mediocre cover, like if your cover is just kind of like, uh, you know, um that's easy, that's easy enough to spot, right? But a really beautiful cover is um, you know, that gets it get it's a little deceptive, is I guess what I'm however articul inarticulating I am trying to say. Um, but but trust the signals on if some if if if readers are not sure what your book is about, if and and you know, we say this a lot, but take a look at the I love going into bookstores. Not all of us have the time, or maybe have a bookstore close enough to where we live. Take a look at the virtual shelf space on Amazon. See how your book shelves next to those books, right? The cover has got to match the genre, the feel of the genre, the look of the genre. If you have a um, you know, if you have a dark, twisty mystery book thriller, then you know, you probably shouldn't be putting a puppy on your cover. I'm just saying. Not not that we've ever seen that, but I'm just hypothetical.
SPEAKER_00:Right? No, it's very, yeah, it's very true. This is one area, and it it I it's always tricky to to tell authors this just because it I have they're probably like, what? But book covers are one area where, again, it sounds weird, you don't want to stand out too much, you know, because it's one area where you want to fit in to some degree. You still want a great cover, and that doesn't mean it can't be amazing, but you don't want to stand out so much that it looks like you don't belong there, right? Yeah, thank you. And I feel like a lot of authors they get really jazzed up about their cover because they're like, it's unlike anything anybody's ever seen. It's so unique, it's so this, it's so that. It's like that can all be true, but it can also be true that that means that genre fans or topic enthusiasts are not going to register that that is what they're looking for.
SPEAKER_01:Right, right, exactly. And you know, I mean, look, I understand that we all get very, we all get, we're all very proud of our covers. Like, I get it. I am an author. I when I get my cover done, when I get my covers done, I should say I, yeah, I'm like, show it to everybody. I'm super excited. But your cover really isn't there to impress to impress other authors or other your family members or whatever. You're your cover should be reassuring the reader that this is the book that they want. At the end of the day, that's really all that all that a cover should do. Sell your book by reassuring the reader that they've that they're in the right place. Yes, I love that. Full stop.
SPEAKER_00:Yeah. Okay. Failure number four. Failure number four. I I I say this and I will stick to it. I won't harp on it for too long, but the book description isn't doing this job. We've done so many book description, not I mean, both dedicated shows, but then, you know, within different shows, we've talked about book descriptions. If you're new here, there's tons of content for you to go through. If you're not new here, you know how we feel. But this really oftentimes comes down to writing for yourself, not for who your reader is, right, Penny? It's about being too close to your own work to be objective about what everybody else is looking for versus what you want to say. Those can be two very different things, right? Yeah. And a really good book description finds that balance between what the author wants to say or what the story does or what it's about, and then what readers are looking for. Again, very good positioning, very good marketing and branding. Is about connecting the dots to make all of that feel very seamless. It makes it feel very natural.
SPEAKER_01:Yeah.
SPEAKER_00:You know, so again, do not summarize your book. That's not exciting or fun, even for nonfiction. Don't summarize your book. You want to answer problems. You want to speak to needs, right? You want to make a promise that you will make somebody's life better. And then for fiction, you just want to let them know that this is exactly the kind of book that they're looking for if they're a fan of this genre. And it it's it's so much more interesting than a basic summary or you know, the weird intro. Oh, you can always tell when somebody just like copies and pastes, you know, something from directly from their book. It's like, what is this? Like that, that sad, I hate seeing the sad little like two-sentence paragraph as somebody's book description penny. Yeah. You know, when you run into that and you won't you go to, okay, I'm gonna check out the book on the retail page, and you get there, it's like, wow, it's two whole sentences, and I don't have any idea what this book is about. And then the author wonders why they're not converting anybody, you know? Right.
SPEAKER_01:Right. Right, exactly. And you know, I mean, the book description is really, you know, that's the conversation that you have that happens when you're not in the room. Right.
SPEAKER_00:Yes, exactly.
SPEAKER_01:You know, that's a very good point.
SPEAKER_00:I love that.
SPEAKER_01:Yeah. So that's the thing that that I think is really, really, you know, do you do you really like what your book description is is saying when you're not when you're not in the room? And if the answer is no, then it's time to get it's you know, it's time to get in here and that's so funny.
SPEAKER_00:Yeah, if your book description is that awkward uncle when you're not around, it's like, ooh, yikes.
unknown:Right.
SPEAKER_00:Right, exactly.
SPEAKER_01:Exactly. Um okay, and and the the fifth failure, you're you're attracting the wrong readers, right? So a lot of times the the wrong readers start sh show up in poor reviews, right? So we talked about this earlier in positioning yourself to the wrong market. Poor reviews a lot of times are framed as a quality issue when really they're a targeting issue, right? Um, and you know, and we've said this before, and I can't remember now if we said it earlier in this show or if it was in last week's show, because I know we've talked about um amplifying signals, but good marketing amplifies signals. And um if you are, are you amplifying the right signals, right? Are you amplifying the message that you really want to bring, you know, people to because you're potentially bringing in the wrong people?
SPEAKER_00:Right? Like a bait and switch.
SPEAKER_01:Yeah.
SPEAKER_00:Like if you're doing a bait and switch and they show up, they think it's one thing, they end up getting something else, it's not gonna be pretty in your reviews.
SPEAKER_01:Well, and that's the thing though, too, is that sometimes we have authors who come to us and they're they're in this quandary, right? They're sitting in this, they're there's they're like, I you know, I don't know what's going on. I'm not, you know, I'm not doing all the right things. I'm gonna, and they're they think that the solution to that problem is that they need more traffic. They need more traffic. If I can just get more traffic, if I can get more traffic, I'll be able to sell more books. What you need is you need focused traffic that already wants what you wrote. Yes. Right. So it's not really, so it's not necessarily so there's a great line in the movie where she said, you know, and I think it was it was in the the redo of the Sabrina movie where she said, more is not better, sometimes it's just more. And that that very much holds true here, too. Mm-hmm.
SPEAKER_00:Yes. The wrong readers, I think a lot of times this comes from, like we talked about in the last episode, kind of sporadically showing up and trying to do all the things to check it off your list. And so you focus on just sending traffic, but it's not targeted traffic. So the numbers sound good, the effort seems fine, like all that stuff. You're like, no, I'm doing all the things. But it's like, really, are the are you actually reaching the people that your book is for? Or are you just reaching people? Right. Right. Exactly. If you're just reaching people and sending them to your book page, you're going to be spending a lot of time, money, and effort on generating traffic that is never going to convert for you. And then that gets you down a weird rabbit hole of trying to figure out why your thing's not working, right? Because we've had authors like that too, where you really have to dig into what are you doing? How are you doing it? And then there's that light bulb moment where it goes, oh, well, it's been very unfocused. They've been very busy, but it's been very unfocused.
SPEAKER_01:Right. And if this feels like you go and you didn't listen to the January 2nd episode, definitely go back and listen to that one. Because we talk a lot about noise versus signals a lot in that episode, which really, you know, which, which, which really feels like it, it, it fits in within the the context of this show, you know, with this show too. Um okay. And then uh so I guess Amy, did you did you have anything else to add to this one? Or are we No, let's do like I'm gonna run through real quick what to fix, like just so anybody can let's go through the, yeah, let's go through the fixes because I think that's really smart and I think that everybody's kind of ready for that.
SPEAKER_00:Yeah, so priority order for most authors listening. Figure out your genre and category alignment. Are those right? Like that's your number one, okay? Right. Double check your cover, be realistic because I know I realize this is not necessarily a fun project to have to take on, you know, to start fresh with your cover, but it is, I think honestly, out of everything here, could be one of the biggest change makers. So make sure your cover's right. Your hook is it good? Sorry, that sounds very basic, but truly, I mean, you can't call it a hook if you're not actually going to entice people, you know. So what is your hook? What is your promise? What is your, oh my gosh, I have to read more. This is also like Penny said, how would somebody recommend your book to a friend? If they couldn't really say it succinctly, then there's a problem, right? Right. Your description. Almost everybody listening, I guarantee, could benefit from finessing your description. And that is not a slam, that is just a reality that your book is always evolving. If you are trying to sell more books and trying to build your author brand, you have to embrace the evolution of what publishing is. And so your description needs to be revisited at regular intervals, you know? And then your keywords, your keywords, your alignment with your market, just make sure that you are reaching the right people. And again, more is just more sometimes. Like Penny said, you're much better to be targeted and to know that you are reaching the right people, quality over quantity. Right. And then do you want to tell them about the cool uh test that we're gonna put in the show description?
SPEAKER_01:Yeah. So Amy has, so we talked about this in the green room, and we thought that it was gonna be a little bit um, so there's an alignment test, which I think would be it was a little bit too it was a little bit too visual to try and talk about it on the podcast. So we thought it would be better to put it in the show notes. So there's an alignment test in there, definitely, and it's really, really cool. It's like this little quiz. So definitely go into the show notes and take a look at that because we're gonna put that in the show notes. But I think that, you know, I mean, when your positioning is right, you everything starts to feel easier, right? The marketing, it doesn't feel, I mean, marketing is already challenging. Like I get it, but marketing feels lighter, it feels easier, reviews sound clearer, and and readers help you to sell your book, which 95% of books are sold through word of mouth, which means that readers talking about your book is a great way to sell a book, right? But when it's wrong, everything feels like an uphill battle. Right. So that's the reason that we felt like this show was important to do, you know, for the second show of the year, just because man, if you're not getting your positioning right, if you're, you know, if you're not um, if you're presenting your book to the wrong readers, full stop, your book isn't going to be selling.
SPEAKER_00:Right. And make sure it's ready to convert once they get there. You know, yeah, yeah, yeah. It's a very simple two-step process. There's things involved under each of those steps, but when you break it down, you know, like Penny said, this is actually very manageable. And I love that we're kicking off the year with things that are within your control as an author, you know? That's that's the best news you can get.
SPEAKER_01:Yeah. Yeah, exactly. I think that's the best news that you can get. And we hope that we hope that you love, hope that you continue to listen. As we are in our sixth year, I cannot believe it. We have a whole series of shows. We have a whole new format. If you didn't get a chance to check out our December 26th episode for sure, um, give that a listen because that kind of walks you through what we are, what our plans are for our sixth season of the show. Um, text the word podcast to 888 402 8940. We'd love to hear from you. And please leave a review wherever you listen to podcasts. Thank you so much for listening. We'll see you next week. Bye bye.
