Publishing puts the book in the world. This finds it readers.

Two different jobs, and most authors are left alone for the second one. Everything below is something we have already made for somebody, and you can open all of it.

What our authors say, where we cannot edit it

Pulled straight from Trustpilot's own API and not retyped. Many were written by authors whose books and sites are further down this page, so you can read what somebody said and then go and look at the work they said it about.

See all our reviews on Trustpilot

01 — Press releases

Somebody else
saying it.

A book described by its publisher is marketing. The same book in a paper with a masthead is a fact. These are live pieces, not summaries of pieces.

02 — Author websites

Live sites,
running right now.

Not screenshots. The real sites, live in this page. Click one and scroll it. Every domain is registered in the author's own name, and every mailing list sits in their account, not ours.

The Rooted Soul
The Rooted SoulAlan McDonaldVisit ↗
In My Happy Place
In My Happy PlaceVernon SmithVisit ↗
Little Hedgehog and the Moon
Little Hedgehog and the MoonCatherine RushtonVisit ↗
Helen for English
Helen for EnglishHelen MichaelVisit ↗
James O'DonnellOpens in a new tab
James O'DonnellAuthor siteVisit ↗
Paul Okonweze
Paul OkonwezeAuthor siteVisit ↗
Geoffrey Spinks
Geoffrey SpinksAuthor siteVisit ↗
Louise Wynne Jones
Louise Wynne JonesAuthor siteVisit ↗
Mark Short
Mark ShortChildren's fantasyVisit ↗
Bloodplay
BloodplayEra K NestaVisit ↗
Bert the Worm's Garden
Bert the Worm's GardenA playable garden board, built into the book's own siteVisit ↗
World Wheel
World WheelVijali Hamilton — scroll the map to travel the workVisit ↗
Melissa Boyer
Melissa BoyerScroll below to explore the pondVisit ↗

Buy it for the record,
not for the feature.

This is the service most often oversold, so the useful question is not what a release can do at its best. It is what you are certain to get.

  • What is guaranteed

    It gets written, it gets distributed to desks that cover your category, and it exists at a permanent address afterwards. That happens every time, whether or not a journalist reads it.

  • What is not

    Coverage. Nobody can promise a journalist will run something, because it is not their decision to sell. Vernon reached the BBC and The Yorkshire Post because the story was there.

  • When to spend on it

    When there is a story that is not the book — a trade, a life, a local connection. Without one, a release is a well-written page nobody has a reason to open.

  • The full argument

    How the story gets found, how the release is written, and every placement we can point at — on its own page.

03 — Book trailers

The one asset
a feed will show a stranger.

Everything else here works on somebody who already knows your name. Video is the exception: it is the only format a social platform reliably puts in front of people who have never heard of you.

  • What you are actually buying

    One shoot, cut four ways — vertical, landscape, square and a six-second hook for paid. Not one film cropped three times, which is why most author trailers underperform.

  • When it is worth it

    After the listing is right. A trailer sends people to a page, and a page that does not convert turns a good film into an expensive way to be scrolled past.

  • How to judge it

    Not on sales. On reach, profile visits and email addresses — because that is the job it can actually do, and measuring it against sales is how authors conclude marketing does not work.

  • The full argument

    What gets made, what it costs you in time, and the honest limit of what a film can do — set out properly on its own page.

Read the service
before you buy it.

Each of these has a page of its own, written to be read by somebody deciding whether it is worth the money. That is deliberate: a service you can only hear about on a sales call is a service you cannot compare.

04 — Social and UGC

Authors, filmed
talking about their books.

Video is the only thing a feed reliably shows to strangers. These are our authors, in their own words — the same 9:16 format the platforms reward, and the most persuasive asset any author has.

David SummervilleAuthor of Bipolar Sunset

06 — Ads and promotions

Rented attention,
spent in the right order.

Genuinely useful, and almost always bought too early. Paid traffic pointed at a weak listing is money handed to a retailer.

  • Amazon ads

    Keywords, categories and bid strategy. Reported with dates and figures attached rather than as a ratio with no period next to it.

  • Reader promotions

    Your book in front of people who already buy in your genre, on the days that matter. We run these; we do not name the services, because that is the part you are paying us to know.

  • Why the listing comes first

    Wrong category and thin keywords make a book invisible for free. Fixing that costs nothing and doubles what every advertising pound afterwards is worth.

  • What we report

    Spend, where it went, and what happened. Not a screenshot of a good week.

Every cover
was made here.

The catalogue is the portfolio. Open any title and follow it through to the shop it is sold in.

How to spend
on this.

Marketing a book is not one purchase, and treating it as one is the expensive mistake. There are three kinds of spend here and they behave completely differently.

Assets you keep

A website, a trailer, a press release, an author photograph, a set of A+ modules. Paid for once and used for years, in every campaign, on every platform. If the budget is tight this is where it goes first, because everything else works better once these exist.

Ground you hold

Author Central, Goodreads, a mailing list, a Substack, published articles. Mostly labour rather than spend, slow, and the only part that compounds.

Attention you rent

Ads and promotions. You pay, people see the book, and when you stop paying that stops. Useful — after the first two, not before.

The order almost everybody gets wrong

Assets, then ground, then attention. Most authors buy ads first, see nothing happen, and conclude that book marketing does not work. It was the sequence, not the marketing.

An old notebook lying open on stone, both pages covered in close handwriting.
No obligation

Tell us about
the book.

What it is, where it is on sale, and what you have already tried. Somebody who does this for a living writes back within one business day.

We write back within one business day. Your details are used to answer you, never sold, and there is no newsletter.

Marketing
questions.

No, and you should not. They are separate for a reason. Tell us the book and the budget and we will tell you which two or three would actually move it.

What is the book, and who is it for?

Those two answers decide which of these is worth your money. A call is the fastest way to work it out, and a person answers.

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