The I Have to Read That Plot Formula
Even the greatest idea must be shared well.
Otherwise, it won't seem great to other people.
As writers we tend to have a clearer idea of what happens in the story than we can put into words, but that shouldn't stop us from trying.
Or, more importantly, trying well. In the case of generating interest, that means filling out enough of the plot that you can structure it in a way that meets the 3 crucial plot needs even seasoned professionals overlook.
We break it down to a simple equation so you can sharpen your plot points to hook your target audience now, and at each of the 3 following stages in their journey toward becoming your raving fan.
The I Have to Read That Title Formula
Some say ideas are a dime a dozen in the book world because they can be buried by poor execution.
And we're not even talking about competence in storytelling craft.
It's everything else that goes into building your product.
Your writing isn't just "some product" to you, but from the point of view the end-user your work is another in thousands of products they get targeted by each day.
Your title cuts through all that noise by providing insight to your writing's message while showing intent and skill beyond that of the 95% of writers.
With this tool we show you how they fall into that trap, and how to avoid it yourself.
The I Have to Read That Description Formula
Did you know professional back cover writers get $500 per book?
Save yourself some cash and learn how to make your book description irresistible.
The title makes people examine your book more closely, or in the case of a finished product, the title works in combination with cover art to make them pick up your book.
The back cover description will seal the deal, or break it, and it does that in just seconds.
In your pitch letter, drawn at random from 374 submissions by a hungry, sleep-deprived intern? That description better make them not just forget their misery, but come alive with curiosity and joy.
The I Have to Read That First Page Formula
You've convinced somebody to stop, pick up your work, make it past the description, and actually…start reading the first page?
Yes, according to research conducted by the big New York City publishers this is the traditional customer journey in a bookstore.
Yes, your first page is the last stop on the buy-or-die flowchart.
Likewise, when an editor or agent doesn't reject you based on your pitch, title, or description, you only have a single paragraph until they've decided whether they're going to read the entire writing sample before judging you.
This is where almost every writer fumbles. We show you how to stand out with your first page instead of sinking with the rest.
