The Goopy Ghost at Cristmas
November 2018 by V. R. Duin


One elf asked, “Who are you?”
“I'm Goopy Ghost,” was the reply.
“I fell asleep in Santa's sack
And had a sleigh ride through the sky.”
(“The Goopy Ghost at Christmas”)

Writers must design and provide for the administration of a book writing website with regularly updated content for book promotion in the age of digital age publishing, using social media to drive visitors to that site.

Writers need a book writing website. In it, the undefined must be defined. People are tired of mass productions. They are looking for something unique among the one billion websites and millions of books and videos floating around in cyberspace.

Writers must write for real audiences. Old SEO “magic tricks” no longer work with advanced learning of machines. Search engines recognize garbled text created with keyword stuffing.

Information culled by machines is understood by machines. Machines find unethical, unapproved and often illegal tactics. Sites are penalized for repeating words to add length and for copying content from other sites, without approval or credit.

Self-publishing continues to have some stigma attached to it. Local news media will tell self-published writers to come back, after they have a traditional publisher. Few of these books match the quality produced by professional editors at traditional publishing companies.

Few books offer unique experiences. Many people self-published one or more books, or are writing one. When everyone is doing something, nobody is impressed by it. Grammar and spelling in posts and tweets must be checked and rechecked.

Online is the place readers will look for any product or idea. Independent writers are not just vying with each other for book sales. Celebrities and Silicon Valley giants are entering the content production and promotion business.

Name recognition matters more than production quality to many purchasers. Influencers create an experience that garners quick and easy attention. Celebrities have an established following. Fans have a strong personal attachment to iconic brands.

Fans may feel enlightened by celebrities. These brands often bring something new, like the brain-tingling beer ad for the Super Bowl. Advertisers keep the names of big stars in front of viewers. People want to be aligned with them.

Non-celebrities harbor hope of building celebrity status for book characters. This can be accomplished through the professional administration of a book writing website. Advertising costs can be avoided with SEO-friendly organic website growth.

Mobile devices call for brevity and minimization. A site that is not mobile-friendly is ranked poorly, if it is ranked at all by search engines. Google, Bing and others offer tools to evaluate and improve the speed performance. Many of these tools are free of charge.

Writers must transcend books to become a fashion, trend, culture or voice for the outside world. They must brand themselves as well as their books in a process of continuous improvement. Reputations make or break careers. Nobody wants to pay the price of wasted time on disappointments.

Websites, tweets and posts must be interesting. They must contain information of wide and general interest. Content about unknown books or unknown writers is not compelling. Flashy, contemporary flair is an expected feature in web pages and social media or blog posts.

Content must be attractive for technologically sophisticated consumers. Traditional publishers are reinventing the way content goes to market. Interactive and audio books are surging forth as the next level of literary production. The content marketing effort must be dynamic.

Book promotion cannot be helter-skelter. Regularly updated, informative articles with professional insights can help drive traffic. Keyword research, URL structure and meta descriptions matter. The numbers of human visitors and machine bots that hit each page of a website are public information.

Scratch-and-sniff opportunities invite taste tests. Are the books scented, illuminated, inflatable, edible or otherwise unusual? Curiosity about an extraordinarily concept may trigger influential business participation. These can be recommendation engines for brand growth.

Shoppers burned by poor-quality independent titles return to the safety of traditionally published books. Writers may be poor judges of their own work and platforms. Traditional publishers have money, know-how, wide marketing appeal and broad distribution networks to maintain appeal.

Creators must project an interesting and entertaining experience. As technology changes, outdated and outmoded elements lose support. New crazes, like the brain-tingling ASMR, are slow to get browser support.

Innovation may keep work from landing in the “round file”. Literary agents scrutinize a writer's Web presence, before wasting more time. Mainstream looks at the breadth, reach and scope of a writer's platform. Carefully planned and executed materials earn respect.

Book promotion requires multi-tasking. Multimedia, games, quizzes and other advanced technology skills may be needed as well as those for advertising, marketing and sales. SEO may needed. This writer turned to SEMrush for SEO tools.

Reading is not a growth industry. As reading falls out of favor, writers must attract remaining readers and reluctant readers with: genre, covers, illustrations, multimedia, readings, trailers, slide shows, excerpts and reviews. It is rare for readers to take a chance on the unknown.

A unique approach is needed. The common tactic of posting book covers by unknown book writers on social media does not attract attention. Covers are readily identified as self-promotions. Self-serving content is likely to repel readers. The ideal notion of one's own qualities often falls short.

Book promotion should highlight real activities. Followers may be interested in conferences, book signings and events in which they may participate. An audience is unlikely to be drawn by reflections about unfamiliar or unfinished works of unknown writers.

Networking is important. It is particularly hard to make an approach seem fresh and interesting when it comes from a remote location and involves an unknown brand of literary work. It may be helpful to reach out to bloggers. Articles and short stories for outside blogs may get writers seen.

Mention in articles may lead to referrals and links. Allied sites may link a writer's website to theirs for mutual benefit. Relevant directories and listings may offer links for possible engagement. Writers may write far more material for book promotion than in books.

Free and paid analytic tools are online help analyze online data. They provide facts about formation, location, number of employees, business category, global and national rankings, keywords, backlinks and offer case studies and training opportunities.

Content remains king. Content is needed to entertain, fulfill purposes and meet goals. People want to be a part of big campaigns and trends. Content must offer solid structures and innovations about which visitors can reflect and build personal strength.

Social media may be a poor book selling channel. The 99% gets pushed outside of concentrated searching, streaming and socializing. Writers must push forward. Writers must display a reliable, accurate, quality and far-reaching platform of benefit.

Social media giants commandeer digital data. These platforms freely support and share popular content. By drawing crowds to trending information, they empower the 1%. To share in the limelight, the 99% also promotes the top 1%. Social media can be targeted through advertising.

Social media companies are in business to make money. Developing a following is difficult. Social media site managers place “pay-to-play” ceilings on growth and visibility. They may block or suspend violators of their terms of service.

People often click “Like” without purchasing interest. The advertiser pays for these clicks, with no return on investment. Pay-per-click advertising does not guarantee purchases. It costs more to pay for one advertisement than most writers can earn from the sale of one book.

Social media is not washed up. Data collection and ad tracking is causing followers to scale back, deactivate or close accounts. Digital age publishing information is difficult to regulate. Writers try different things against the power imbalance.

An inability to pay creates a wall. Influencers and their sponsors have funds, knowledge and experience to channel brands to consumers. Walls may be shattered through connection or partnership with an insider. Nobody succeeds without the help of others.

Put everything on the table. The 99% can generate a following for content that does not resemble advertising. Readers recoil, block and mute customer-stalking links, URLs and junk automation. It doesn't help that books are out of favor.

“Shotgun” book promotion will miss more than it hits. Instead of self-serving misses, writers must create content that adds value and connects with others. Writers must be consistent about branding. Good talent can make good things happen.

More hits than misses may pave the way to 1% status. Writers must work hard and adjust approaches to reach the numbers mainstream expects. Ten thousand followers may be considered “viral” on social media. A dark preoccupation for recognition from peers creates a social vacuum.

Curious visitors to websites often come through social media platforms. Writers must be creative and consistent in the development of engaging, new content. Great content earns traffic. Followers may be attracted by interesting work-related reveals.

There are many reasons why writers need websites for book promotion in the digital age. They are important resources for connecting with bloggers, reviewers, publishers, agents and other influencers. Periodically approaching agents may help open inside doors.

Watch what you write. Writers must be aware that deleted tweets are stored in perpetuity by Google and the Library of Congress. Dehumanizing content should be avoided. Content should be positive, humorous and intriguing to attract visitors. Societal and government forces push out bad actors.

Bad news travels fast. Viewers complain about false, hateful, bullying, controversial, grotesque or vulgar content. Inhibition is created. Political correctness leads to bans, censorship, boycotts and other trouble. The Federal Trade Commission investigates unfair or deceptive activities.

Few followers may be in a book writer's buying demographic. Occasional mention about books in social media may bring traffic to a writer's website. Traffic counts show a writer's visibility. Persons who cannot read the source language, or who prefer to read nothing, may be drawn to images.

The development of cultural icons may lead to a viral social “meme”. Symbolic, photographic, video or visual digital age publishing content that is brief, flippant, funny, irreverent, ridiculous or unusual stands a better chance of being shared. From one powerful meme, a writer's brand can become known, followed and shared by fans.

Focus book promotion on visuals. Statistics from a 2012 National Endowment for the Arts Survey, BuzzSumo and Buffer stress the importance of art and other video. Free image sources, marketing statistics and email marketing courses are on

Book promotion must accommodate a variety of devices. Voice is coming into wide use. Business-to-business, intra-company and professional may require the additional capacity of desktop or laptop computers. Ongoing technological upgrades help ensure optimum reach as standards tighten.

Writers should seek new avenues for ties to the data-privacy world. It is important to create trust by employing trusted resources for operations within trusted online environments. While many writers hang out on Facebook, other platforms may prove better for digital age publishing businesses.

Aggressive, self-serving pursuit is alienating. Overwhelming pitches may make connections feel they are being stalked. Direct messages to buy a book or to follow the writer to another social media platform are off-putting. The average participant has fewer active friends than disengaged acquaintances.

Bad reviews are worse than no reviews. Few people bother to write positive reviews about products or services. Negative reviews flow more easily. Large tech companies are turning to tracking tools for content management and to avoid controversy and people or things with bad reviews.

Machines are predictable and linear in their programming. Content that is regularly updated, of high quality production and contains authoritative links may appear in automated searches. Writers can earn a real following for creative work that is presented and executed in the right way.

Administration of a Book Writing Website

  • book promotion V. R. Duin says:

    Writers—whether unpublished, self-published, or traditionally published—must be informed about, if not steeped in, the technology of book writing websites, blogs, and social media, all of which contribute to successful book promotion in the digital age.

  • digital age publishing V. R. Duin says:

    Writers in the digital age publishing world must understand the basics of book writing website design, including HTML, CSS, JavaScript, graphic formats such as JPEG and PNG, as well as scripting, content management systems, web hosting, and mobile technology.

    • administration of a book writing websiteV. R. Duin says:

      The administration of a book writing website design and social media must reflect the continuous transformations that technology is making on book readers, writers, publishers, sellers and marketers.