What is a book blurb?

A blurb is the copy/text that appears on the back cover of a book. Your back-cover blurb is the second thing a potential buyer looks at after your front cover. You can write a ‘description blurb’ your book yourself (preferably in the third person) or have a ‘review blurb’ written by someone else in which praises for your book are mentioned.

Purpose

A strong, insightful blurb is one of the most important and powerful selling tools for your book because it serves as your sales pitch. Once your book’s title and cover have drawn the reader in, the blurb is what is going to make the difference between a missed opportunity and a sale. You have one shot at introducing your book to your reader ‒ make it count.

Many authors write the blurb as an afterthought, even though it is the single most important piece of writing you will do on your book! While the cover design creates interest, even intrigue, the blurb is what will convince readers to buy your book. A book blurb is there to entice a purchase, not demonstrate your writing skills; therefore, it should be short and to the point.

What makes a good book blurb?

Blurbs for non-fiction books are very different to those for fiction, in that they convey a message and the benefits the reader will receive from reading the book.

A non-fiction book blurb should give a quick indication of the credentials of the author, which readers it is written for and why they need it. A fiction book blurb, on the other hand, should convey atmosphere, specify its genre, and indicate what kind of book it is (mass-market or literary fiction). Quotes are extremely valuable to both fiction and non-fiction blurbs as they accurately describe the expectations the reader should have of the content.

It’s very important to match the words to the product. Do not make a romantic novel sound like classical literature: you will put off both potential markets. Try to use your genre keywords too – they’re great for SEO ‘findability’ and to help classify your book on the shelves.

10 Book Blurb Essentials

Blurbs for non-fiction books need to address the fact that the reader has turned to you, the author, for information rather than entertainment. Instead of creating suspense or drama in the blurb, you’ll want to reveal a little more about the content and its significance. Here’s how:

1. Determine your target market

Indicate who the book is for. This could be phrased as ‘For people who want…’, or it could describe the primary problem your target market has. Followed by what they’ll get from the content, or how you will help them solve the problem and why they should make buy your book and read it now. Keep this concise.

Its highly likely that any subject you’ve written about has already been covered by other authors, so you’ll want to look at similar books and their blurbs. Where does your book fit in? What’s unique about you? What’s your story? How do you differentiate your book? Perhaps you can identify a niche market or highlight a unique perspective that you bring to the content.

Is there a hook you can use that will attract readers in a particular niche market? Naturally, others will read (and hopefully) love your book too. But the readers who will feel that you really ‘get them’ will be those who can sympathise, empathise, admire or identify with you. Your blurb will persuade them to pick up your book, read it and recommend it to others ‒ if it lives up to expectations.

2. Make your opening line count

First impressions count. And when writing a blurb, your opening line is your first impression. Short, pithy, surprising sentences or valuable information will grab the reader’s attention. And it’s not a bad idea to lead with the most outrageous claim, alarming insight, startling reveal, etc. that you have. It’s not suggesting you make something up or be deceptive, but a clever use of words to create a need-to-know urgency in your reader never hurts.

3. Sell the benefits

Why should someone read your book? What’s in it for them? What will they learn? How will it change them? These are just some of the questions that you can answer by stating the benefits of reading your book. For the most part, non-fiction is about learning, teaching and training to varying degrees. Approach the copy of your back-cover blurb with the mindset of ‘what’s in it for the reader’.

You could structure sentences along the lines of, ‘What you’ll learn when you read this book:’ or ‘When you’ve read this book, you will know/understand/be able to:’ then follow this with three to five bullet points of benefits of the content. This is your chance to make your promises about the value the book will deliver and paraphrase the best bits from your Table of Contents to entice the reader.

4. Showcase your knowledge

Offer some of your insight and learnings in your blurb. Don’t give it all away, but you do need to show your authority and relevant experience to build credibility. Demonstrate that you know something valuable which will help your readers. Mention something significant about the content that makes the book worth picking up, promising that there will be more of that useful information inside.

5. Write in your own voice

This is paramount. Your blurb should be written in the same voice as your book. It might sound obvious, but so many writers don’t do this. A potential reader looks at the blurb the same way they would look at the book itself. In a non-fiction book, you are selling your knowledge, your experience, your writing and yourself, so if the blurb doesn’t represent the typical language you use in your book, the reader will feel a disconnect. Besides, it will only make your words more authentic and impactful.

6. Keep it short

Most blurbs are only between 100 and 150 words long, excluding the author biography. Keep your blurb within these limits if you want it to make an impact. Your last sentence should wrap it up – essentially coming full circle back to the first sentence. You can use bullet points and questions. The book blurb should arouse curiosity, rather than provide answers. You want them to think ‘That’s what I need to know!’ or ‘That sounds just like me …’

7. Use a cliffhanger

The aim of your blurb is to leave readers curious and wanting more ‒ so much so that they would actually buy the book. For non-fiction books, your cliffhanger should promise a strategy or a solution to address a problem the reader has, or a situation they want to understand, or information that they are seeking, and so on.

8. Get testimonials or endorsements

Endorsements are a powerful way for you and your book to have credibility and ‘social proof’, making your book more appealing to potential buyers. Powerful endorsements or testimonials from notable, credible people in your related field is the goal.

The praise on your book cover should make it very clear, in one brief sentence (include a maximum of three short quotes), why someone should read your book. The quote should be from someone whose name the reader recognises or whose title shows they know what they’re talking about ‒ if not, it might be ineffective. Acquiring testimonials and endorsements is something you’ll need to start working on early, often before you’ve finished writing your book.

9. Author biography

Keep this short and focused on why you, the author, are uniquely qualified to write this book and what motivated you to do it. Three sentences should cover it (you can put a longer Author Biography inside your book). List your key credentials and qualifications but don’t write a CV or present irrelevant details – align this with the tone and subject matter of the content. Readers want to know the person offering the information they’re spending their time and money on, is genuine.

10. Author photo

A professionally photographed headshot of you adds character and illustration to all the words on your back cover; it also helps your readers connect with you. It can be in colour or black and white, but should show you looking friendly, likeable, approachable and trustworthy.

Final Words

Make sure these elements are concise and well laid out (a back cover that is covered in text with not enough ‘white space’ is unappealing to the reader) and your back cover will be doing a great job selling your non-fiction book. Your book blurb can also be used in pitch letters to reviewers and journalists, and as background information for anyone wishing to interview you about your book. The book blurb is an important communication aid when promoting your book, so invest plenty of time and effort to ensure you get it right.

What is Persuasive Writing?

Persuasion is the art of making an offer that others can’t refuse. Persuasive writing uses words to convince the reader to listen to what you have to say and to act in a certain way ‒ it has to sway your reader intellectually and emotionally.

We all need to use it in our everyday business writing. Great business writers use persuasive writing in advertising materials, social media marketing, proposals, articles, newsletters, blog posts, memos, emails, requests for meetings, speeches and reports. In each situation, your goal is to persuade your readers that what you have to say is relevant and valuable and that it is in their best interest to take the action you have requested.

3 Pillars of Persuasive Writing

1. Be credible

By appealing to credibility, writers make their claims more believable. The writer builds on his or her credibility by writing with confidence, clarity and accuracy. You and your business will be more credible if there are no errors in your written material, as well as no errors in the subject matter.

Incorporate some personal work-related information and some comments about your customers’ experiences with your business in your writing to bolster your credibility. You can support the validity of your customers’ feedback with testimonials and personal recommendations.

2. Be logical

By appealing to logic, writers persuade their readers through coherent arguments. A successful appeal to the reader’s reasoning requires tangible evidence, e.g., a quote from a reliable source, a case study, or a testimonial. You appeal to the rationality of your reader, using your evidence to persuade the reader to agree with you, convincing them that your argument is viable and likely to result in the obtainment of benefits and goals.

3. Appeal to emotions

By appealing to emotions, writers persuade by evoking feelings and swaying emotions rather than by using valid logic. If you judge a mood, or correctly address feelings about the subject, you can win over a reader. Trigger positive emotions by highlighting desirable benefits and outcomes, and negative emotions by indicating what might occur if your products and/or services are not used.

This is possibly the most important of the appeals but the most frequently abused. Be careful not to appeal to the prejudices of readers instead of offering a fair and sober assessment of a situation, product or service.

Most persuasive writing techniques use all three appeals.

10 Techniques used in Persuasive Writing

1. Focus on the reader

‘It’s all about you’ is the most important technique used in persuasive writing. This technique, which produces goodwill and favourably influences people, is crucial in business writing. You must emphasise the reader’s importance and put their interests first.

If you want to get your point of view across, convey information or persuade readers, focus on them and see things from their perspective. Adapt what and how you write in terms of their interests, problems, needs and preferences. Present your products and services in light of what’s important to the readers rather than yourself, and what your business can do to benefit them.

2. Have clear goals

Answer the following questions to help you select the right content, format, tone and structure for your writing:

• What is important, original or exciting about what you want to convey?
• Who do you want to read this?
• What action are you trying to inspire?
• How will it benefit your readers?
• Where will it be read? On a website, in print, in an email?

3. Warmth

You can make all sorts of mistakes in your writing and the messages you want to get across yet still leave your readers with a good feeling ‒ if you can convey the intangible quality of personal warmth. Warmth is more difficult to convey in writing than it is in verbal communication.

You should demonstrate concern for the reader’s circumstances, show interest in their attitudes and values, and be honest and genuine about the ways in which your products and/or services are going to be helpful to them. Make the reader feel comfortable and confident in dealing with you.

4. Engagement

The first paragraph of your writing must be well crafted to engage the reader right from the start. It should grab the reader’s attention, provide an overview of the whole story, and set the tone of what they are about to read. Provide a compelling reason for the reader to continue reading.

Concentrate on three key messages – It is tempting to cover a lot of material in your writing as you want to provide the reader with as much information as possible. But you should focus on key messages you want the reader to take away and how you want them to feel after reading the material.

5. Focus on benefits

When it comes to writing persuasively, make the case for why and how the features of your products and/or services lead to benefits, and how they can help the reader address a particular problem or need. Show and tell the reader why they are making the correct decision in choosing your products and/or services rather than any other.

Write your material not only to ‘sell with benefits’ but also to create a compelling vision of a desired future state that will attract and please the reader if they do business with you. Also consider what your readers’ questions might be and have the answers ready to work into your document.

6. Parallel experience

One way of touching the right spots with your reader is to draw on a parallel situation in your own experience, creating a sense of insight and empathy. Build your writing around this experience or use what you have learned as a basis for your writing. By developing a sympathetic bond between yourself and your reader, you enhance the person-to-person connection and help your reader to become more open to what you are saying.

7. Good manners

If you want to persuade your reader, you must show impeccable manners. In other words, be nice, be polite and be truthful. If you are rude or pushy, your reader will shut down to your ‘marketing argument’ and turn elsewhere. When in doubt, put yourself in their shoes and ask, “How would I feel if this was directed at me? Would I be offended, or would I be open to listening to more?”

8. Tone

The tone of your writing goes beyond the content of your words. It offers the reader an overall feeling, an indication of your intention and attitude toward them and the subject you are talking about. The general tone of your message will depend on what is being covered and how you want to convey your message, but a useful guideline is to stay positive and approachable.

Suggest to your reader that you are interested in their problems and in solving them. A good tone is ruined by using slang, harsh words, sloppy phrases, and a lack of respect for your readers.

9. Use the right structure

Choose a structure that complements what you have to say and the persuasive technique you have chosen. Plan the structure of your writing to persuade effectively ‒ don’t try to construct an argument on the fly. There are several ways to structure a document and argument, such as:

• The ‘inverted pyramid’ in which the most important information is presented first.
• A profile or case study which highlights the significance of a single experience.
• The traditional pyramid structure which leads the reader gently to a persuasive conclusion.

10. Have a strong finish

The closing paragraph is the second most important thing you’ll write, after the opening paragraph. It should encapsulate and reiterate your central idea and explicitly state what action you want your reader to take. Avoid introducing a new idea when you’re writing the conclusion. Be sure to leave a memorable impression with your final words.

Final words

Persuading isn’t about manipulation or pushy sales tactics; it’s about getting buy-in for your offer. If you need assistance fine-tuning your business documents, please call Renell for an appointment.

Organising your Written Material

If you are writing a novel for the first time, you’ll need to organise the content into divisions of one kind or another. The key is that the structure should fit the story, not the other way around. Ideally, the divisions emerge organically and intrinsically from the story.

The type of division we are most familiar with is chapters ‒ they are a convenient method of dividing material by topic, chronology, location or by any other means you may use to construct your book and help readers to mentally move through it. A novel is usually divided into chapters by plot development, with each chapter contributing to the overall story. You can write chapter by chapter chronologically, or work on several chapters at once and arrange them later.

Chapter Length

There’s no set rule for chapter length. If you find that some are long, while others are short, don’t be overly concerned as it’s not a flaw. Your chapters do not need to all be the same length. You should, however, have an average or standard chapter length in mind to help you manage the pacing of your novel (more about that next). Also try to avoid a dramatic and sudden variation in chapter length as readers can find this distracting, even jarring.

Chapter length and pacing interact. Varying the length of chapters can become an intentional part of your storytelling, quickening the pace or slowing it down, creating suspense or anticipation. You can also weave shorter and longer chapters together to create a steady and predictable pace.

Chapter Breaks

Novels have many styles of chapter breaks. Some have dozens of short chapters, some have a few huge chapters, and some have no chapters at all. In books the chapters are occasionally grouped into larger ‘parts’ or even ‘books’ (often called ‘modules’ or ‘units’ in technical books and textbooks).

Chapter breaks provide some closure as the story unfolds but also allow for a pause: they ‘reset’ the story, giving the reader a rest so that they can read the next chapter with a fresh view. Chapters also keep a novel interesting and engaging; they provide a structured way for you to switch between characters, time periods, locations, etc.

The division of a written work into chapters, however, is probably one of the things in writing that has least rules of all. A chapter break tells the reader to mentally prepare for some sort of shift; as such they should occur when a major change of one kind or another happens. Some points at which breaks are traditionally made or ways to define breaks include:

• Change of site/location ‒ the place or setting in which the action is taking place changes.
• Change in POV character ‒ someone different starts relating the narrative.
• Change in time/chronology ‒ the time in which the action takes places changes significantly.
• Change in auxiliary characters ‒ the people the narrator or protagonist is interacting with changes.
• A natural pause ‒ e.g. a point at which you’ve come to the end of a major event in your storyline or at which you want to introduce one or more of the ‘changes’ mentioned above.

Sections (aka Scenes)

The next logical way to divide your content is to subdivide the chapters, and this is done with sections (aka scenes) which may or may not have their own subtitles. Your scenes control your chapters. If your chapters are variable in length, it’s because your scenes are variable in length. Create sections within the chapter when the subject changes somewhat but you are still discussing a particular aspect of a larger subject that the chapter covers. Use the same sort of criteria for your section breaks as you would for the chapter breaks discussed above.

If you want to create a break in the flow of the chapter’s text but don’t need to announce a new subject or prefer not to use a subtitle, you can create a text break with a type ornament (e.g. == oOo == or ~ ~ ~ ~) and some additional space between paragraphs. Using a few asterisks is also common, and in some books, just an extra-wide line space is used.

When and Where to place the Chapter Breaks?

The actual length of any given chapter or section of the story isn’t that important ‒ as long as the point where the break occurs make sense; some chapters or sections may be longer or shorter and they may extend or shorten as the narrative progresses.

The chapter break should be placed strategically. If, while designing your outline, the thought of separating your plot into chapters is daunting, then don’t make chapter break decisions yet. Write a first draft of the whole novel, then return to the beginning and place your chapter breaks with intention during your rewrite. This allows you to assign each chapter a purpose.

During the first draft, most writers are more concerned about getting their thoughts onto paper than about chapter structure. If you lock your narrative into chapters too early in the writing process, you might stifle your creativity. Besides, chances are high that whatever you write in your first draft will get moved around, pulled apart, divided, and added to other chapters or sections, if not discarded en masse.

Final Thoughts

The ‘anatomy’ of your novel, which includes its technical and structural elements, is important and should not be neglected. The reader’s level of engagement is affected by the way you divide your novel into chapters. The most important thing is that at the end of each chapter the reader should be keen to pick up the book and start the next chapter. Make the reader want to turn the next page.

A dramatic cliffhanger is not suitable for every chapter (although effective) as it can feel contrived, but tension of some kind is essential. Even small things can serve as a ‘hook’ to draw readers into the next chapter. Once you are well into your writing, you will develop a sense of where it feels natural to end a chapter and start a new one. If you find this is still a struggle for you, the problem might be with the narrative itself rather than your division of it. Then you might need some advice from an editor!

Please contact Renell at Proof Perfect NZ. Email renellj@proofperfect.co.nz or call 029 1230 158

Your Voice

A writer’s voice includes their style of writing, their perspective and their tone in writing. Voice is your personality expressed in writing, while tone reflects your attitude in a piece of writing. It’s what makes your writing ‘sound’ authentic to your reader. Your voice affects how you tell the story or cover the subject matter of your literary work, and how you make a reader feel about it. Consequently, it impacts the way they experience your story or the impression they form about the topic of your written piece.

Your Style

Your style is how you choose to tell a story. It’s about the mechanics of your writing ‒ the individual word choices, the structure of sentences, use of punctuation, choice of formatting, and whether your writing is formal or informal, concise or detailed, objective (factual) or subjective (opinionated) ‒ to mention but a few.

Your Perspective

Every writer has a perspective. Perspective is not to be confused with the story’s point of view or method of narration (i.e. first person, third person). While point of view focuses on ‘who’ is telling the story ‒ who is speaking (the narrator), perspective is how you choose to view and relay what’s happening in the story ‒ how the narrator perceives the events or circumstances.

Perspective is unique to you. Each character in your story can be involved in the same event, but each will come away with a unique set of experiences or observations. Perspective is an essential component of your voice because it determines what you bring forward in the story.

Your Tone

Your tone is your attitude or feeling about the story you’re writing or the subject matter you are covering as well as your attitude or feeling towards the reader. The tone relates to the mood in a piece of writing and it may remain constant or fluctuate throughout the work. It may vary in degree of intensity or shift entirely at some point.

Your tone can be serious, dark, funny, sardonic, ironic, wistful, formal, cheerful, melancholy ‒ the whole range of human emotions. Tone serves to convey a story the way that you want it to be experienced; it gives the reader cues on how to feel about the subject matter or what’s happening in the story.

Your word choice, sentence structure, imagery, writing mechanics (such as punctuation and word styling), and how you feel about what’s happening meld to create a tone throughout your work.

Final Thoughts

Over time, your natural style will develop, as will your writer’s voice. As you read the literary works of other writers, you’ll be influenced by their styles as well. But, of course, for your style and voice to develop and fully emerge, you have to write and write and keep on writing.

Contact me should you require a review of your writing. Avoid embarrassing and costly errors and communicate more effectively with Proof Perfect NZ. Email renellj@proofperfect.co.nz or call 029 1230 158.