When I was a kid, I loved playing with magnets. I loved the way they stuck together and how I could magically move things without touching them. Playing with magnets taught me one key fact: not all magnets are the same. Some are so strong you can hardly pull them apart. They will break your electronics if you get them too close. Other magnets are so weak that they fall off the refrigerator, and your mom throws them away before you have a chance to capture them.

Reader magnets are like real magnets. Sometimes, our reader magnets aren’t very magnetic, and other times, they’re so magnetic that we can rapidly grow an email list of tens of thousands of readers.

A reader magnet is an immediate reward for joining your email list. It’s supposed to magnetically draw readers onto your list so that when you have a book to announce, lots of folks are ready and eager to learn more or buy.

For novelists, a reader magnet is typically a novella or short story. Nonfiction writers often use a quiz or a guide. You have a lot of flexibility in creating a reader magnet, and therein lies the secret to making your magnets more magnetic. You need the right kind of magnet.

I interviewed Jonathan Shuerger, a Marine Corps veteran and the author of the Shades of Black series. He’s also the CEO of The Strategic Author, a company dedicated to helping authors target their ideal market.

How do you make your reader magnets more magnetic?

Jonathan: My background is in Marine Corps Intelligence, and it was our job to track targets, specifically ISIS, and find targets that were trying to hide. In a digital environment you have many ways to track the same targets. If you want to find a particular kind of target, you have to go where they are, know what they’re doing, listen to them, and hear what they’re saying.

As an author, you have to do the same thing with your reader.

If I want to create a lead magnet that will reach my target reader, I’ll only focus on one individual and go where they are.

Thomas: Not everyone is a potential reader for your book. It’s an unfortunate fact every author learns when they get started.

Beginning authors often say, “Everyone in the world will like this book.”

When you push them and ask, “Really? Everyone in the world?” they might say, “Well, all the English speakers.”

You keep asking that question until finally, they realize, “Oh, actually, it’s only a very narrow subset of people who will like this book.” Typically, that subset consists of people who are like the author. Most beginning writers are writing for folks like themselves.

A 50-year-old woman typically writes for other 50-year-old women. A 25-year-old man typically writes for other 25-year-old men. That’s not always the case, but that’s often how people get started, and they assume their reader is exactly like them in every way.

How do you discover who your target is?

Thomas: How do you, as we call it in this podcast, find your Timothy? How do you find the kind of reader who hears about your book and immediately wants to buy it?

Jonathan: We synthesize several different kinds of intelligence to identify the target.

• Signals Intelligence: the digital behavior of the target.
• Human Intelligence: what people around the target are saying about the target.

Thomas: Human intelligence is an untapped resource for authors because it requires you to talk to humans in real life. If you’re online all the time, you don’t have access to human intelligence. Spending time with your target reader in real life can be very illuminating.

Jonathan: To gather human intelligence, you ask questions that eventually lead to the reader magnet. Your reader magnet is your entrance to your sales funnel that will get readers into your economy and have them circulating like fish in a pool. You want to give them a reason to stay in your pool, so you’ll continue adding products to keep the fish happy.

Signals intelligence would be looking at what influencers are saying about books on Twitter or Facebook. Find out what your readers are saying about books in your genre. That will help you know how to target your book or lead magnet and tell you how to reach those kinds of people.

Thomas: Goodreads discussion groups are a great place to gather information. Just remember that you’re lurking in these groups and discussions on social media and platforms like Goodreads. You’re not posting to Facebook or Twitter; you’re simply listening to hear the buzz and find out which tropes resonated with readers and which books they were most excited about.

Technically, you’re not listening. You’re reading. As you read, you’re learning. You’re not promoting; you’re consuming their content.

Jonathan: To gather human intelligence, you have to interview people and then learn how to interpret the intelligence they’re giving you, which is why we all hate HUMINT. In the intelligence community, HUMINT is the least verifiable and least reliable piece of intelligence because we’re interviewing someone and getting what they think they know. The information is one step removed from the source. So, be careful with human intelligence. You do have to interpret it, and you need to gather a lot of it. You can’t just interview one or two people and think, “Okay, I found my target reader now.”

Where do I find a lot of readers who are willing to talk about books?

Jonathan: Start at Barnes & Noble.

Thomas: Just walk up to a stranger and say, “What do you think of that book?”

Jonathan: Yes. That’s not as hard as you think because people love talking about their books. Book shoppers love to talk about what they like to read.

If you approach a shopper in Barnes & Noble, and they’re carrying books, look at the cover and start a conversation.

• “Oh, I haven’t seen that one. Is that any good?”
• “Oh, man, I love that author!”
• “What made you decide to pick that one? Was it the cover?”
• “Did someone tell you about that book?”

Start asking the same questions. When gathering polling data, you need to ask the same questions. You need a control set so you can identify variations in the data. If you get an outlier, and you will, you’ll know to discard it and not keep it as part of your process for determining a target.

Thomas: Some people are weird, and you don’t want those weird people to be your Timothy unless they’re part of a larger group who are all weird in the same way. You don’t want your target audience to be one weird person because that’s not enough people to build a career on.

Jonathan: Correct. You want “normal weird.” The whole point in focusing your data is to find a niche level of weird. Maybe weird is the wrong term. You want a “slice.”

You want your data narrowed in and focused so you can clearly see that “This is the kind of person who likes to buy books that just have symbols on the cover” Or “This is a Sarah J. Maas type of reader because they read books influencers recommend, or because they’re on that table in Barnes & Noble.” There’s a shallow level of suggestion that causes them to make a buying decision.

Reaching that target may be as simple as getting your book on that table. However, I want to acknowledge that actually getting your book on the table at Barnes & Noble may not be a simple task.

Thomas: You may find that a reader magnet that works on an influencer is different than the kind that works on typical readers.

Many authors believe they can only have one reader magnet. If they make another, they suppose it must replace the first one. In reality, you could have a different reader magnet on every page of your website if you wanted.

I have a dozen different guides and tip sheets attached to various episodes in addition to the reader magnet on the home page for Author Media.

Once you realize a reader magnet can be super focused, you can ask yourself, “What would a booktoker or a bookstagrammer be interested in?” Then, you think about tailoring that offering specifically for that audience.

Most authors are not thinking about how to target a bookstagrammer with a reader magnet specifically for that influencer.

Jonathan: Let’s say you’re going after a particular bookstagrammer. You visit their Instagram page and perform what we would call signals intelligence. You will watch their videos, listen to what they’re saying, and see how they present the books when they do so visually.

Thomas: That will help you determine if they’re a good fit for you. Nine times out of ten, they’re not your kind of person, and they don’t review your kind of books.

Jonathan: Right. You have to look at data beyond the number of subscribers or followers.

You can’t sell a sweet Christian Amish romance to a dude who argues about Game of Thrones on his social channels.

Multi-level targeting goes into targeting a hub. Hubs have multiple criteria for why they choose to do what they do. For example, your bookstagram influencer is concerned with their audience. They want to provide their audience with something interesting, so you have to position your lead magnet in a way that’s interesting to their audience and to the influencer themselves. That influencer is a human, not an AI.

Thomas: Sometimes, you interest an influencer by paying them money. Many book influencers make money by doing paid promotions. If you send them your book, hoping they’ll promote it for free, they probably won’t do it because they’re making a living on paid promotions.

They may promote a book they love for free, but it’s probably one they discovered on their own. As you reach out, you need to find out who expects compensation and who doesn’t.

Influencers aren’t exclusively on social media. You might want to connect with a speaker at a homeschool convention, a podcaster, or a radio show host. Ask yourself, “Who is influential to my target reader?

Influencers will be influenced by different things, but as you reach out to them, figure out which ones are looking to get compensated and which are not.

A radio show host probably isn’t seeking compensation from the author they interview. They need to entertain their listeners, and you need to convince them that you’ll be entertaining or informative.

The more dependent the influencer is on social media, the more likely they will expect money. Traditional media influencers are less likely to expect money.

Jonathan: You also need to consider that offering money to an influencer who doesn’t do sponsored ads can backfire. Some may find it offensive and push you away. It’s similar to how you wouldn’t offer your mom money for cooking Thanksgiving dinner—doing so would be a big mistake, and you might not get dinner next time!

How do you know if an influencer expects to be paid?

Thomas: So how do you determine whether this influencer will be offended?

Jonathan: Your ability to read people comes into play, and it’s not an exact science; it’s an art.

Thomas: You may find the answer in their media kit if they have one.

Jonathan: There are clues, but they won’t even take your money if you’re promoting an opposing political ideology. If they’re on the left, they’re not going to take your Trump book. If it’s a sweet Christian YA influencer, they will not peddle your erotica no matter how much you offer them. You have to know your target.

Thomas: Nowadays, it’s easier to determine which influencers do paid sponsorship because we have laws that require them to disclose it. Not everybody follows those laws, and they’re not well enforced. Major influencers are more likely to be noticed by the government and are more likely to be sued if they don’t disclose their affiliate links and promotions. To avoid that situation, they might say, “I was sent this copy of this book for free from such and such author.”

Influencers who don’t take paid sponsorships sometimes make a big deal about it because they’re very proud that they’re not for sale. For instance, Consumer Reports is very proud that there’s no advertising. If you want a Consumer Reports ad, you, as the customer, have to pay for it.

If an influencer isn’t for sale, they make sure to let people know.

Jonathan: Yes. You can get that vibe by watching a bunch of them. Listen to how they interact with the network. Listen to how the hubs interact with the network, and you’ll get an idea. People copy each other. No one knows what they’re doing, so they’re going to imitate one another. Eventually, you’ll get an idea for how things are normally done.

You want to meaningfully target the greatest momentum in the network so that you can achieve the maximum impact from your limited ordinance, which would be your budget, the number of lead magnets you can produce, or the amount of time you have to invest into this strategy.

Thomas: There is a balance here. The time you’re spending developing a lead magnet is time you’re not spending writing your next book. You get paid for writing books, not lead magnets. Lead magnets simply allow you to start a relationship with a reader, but they’re not how you get paid.

Lead magnets are a little unsatisfying to your readers as well. If you only give your list reader magnets, they’ll eventually say, “We want a real book from you. We want a completed novel!” You want to strategically develop appealing reader magnets, but after you have them working, you can go back to writing your next book.

Jonathan: You also need to properly chain your reader magnets so they do what they’re intended to do.

First, determine the intent for your reader magnet. What kind of reader magnet is this? Is it supposed to help you obtain new readers? Is this reader magnet supposed to grab a new, random reader and bring them into your economy by offering a free book or free chapters?

Or is your lead magnet intended for someone who found your book on Amazon through advertising or a recommendation by an influencer? You’ll need a different kind of reader magnet to bring that person onto your list so they’ll get notified when your next book comes out. In the fantasy genre, you might offer this person a map of the story world in the book they’ve just read.  

Thomas: The first time I heard about a reader magnet was before the term had been developed. In my early days, I hadn’t really gotten into marketing. I was attending writers conferences, speaking on websites and how to improve your author website.

I remember running into an author who had added several thousand subscribers to her list in a month or two. So, I asked how she did it.

She was writing romance, and she had written a Christmas story about the two love interests in her book. It was about their first Christmas together, which I think took place between books one and two. When she released her Christmas story, her second book hadn’t come out yet.

The story wasn’t very long, but it was about characters her readers already loved, and her readership just went crazy for it. They were racing to download the story and she was able to dramatically grow her list by adding the perfect type of reader. Only people who knew the characters were excited to buy the book. Once they were on her email list, she had an amazing baseline for her next book. They were primed, excited, and ready to buy as soon as her next book came out.

Jonathan: That’s a great strategy for authors who already have books out and with characters readers love.

I’ve run into plenty of authors who wrote their first book and marketed it well, but the book itself was not great, and no one bought book two. They needed to work on the product more.

Thomas: If you’re new to writing, the very first book in your series is the primary marketing tool you’ll use for the next decade, and it’s how you’ll be judged for your next decade of writing. First, second, or even third books are rarely strong enough to carry a writer through their first decade.

Sometimes, before you write your second book, you need to work on your craft. Tolkien wrote The Hobbit first, but he matured as an author in the 20 years before he wrote The Lord of the Rings. The characters and universe are the same, but the tone is different, and the second book is a more mature story.

There’s something to be said for not committing the next ten years of your writing to your very first freshman work. It’s okay to write a standalone novel or at least see how it sells before you make it a series.

With a series, you can only sell book two to people who read and loved book one. If readers aren’t begging you to write book two, maybe you shouldn’t write it. You might want to structure your first ending in a satisfying way so it can stand alone. If it doesn’t sell well, you don’t have to write book two.

Jonathan: Your first book must have those hooks your audience wants.

I consulted with several authors and said, “Tell me your story, and I’m going to stop you when it gets boring.” Everyone hates a saggy middle in a book. The boring middle causes people to put books down in a book-saturated environment.

I’ve seen an interesting trend of readers saying DNF (Did Not Finish). They don’t finish boring books because there are so many other books to read.  People used to feel a moral obligation to finish every book they started, and that’s going away.

Thomas: Thank God because that sense of obligation pulls people out of the book-buying ecosystem. If they don’t finish a book, they feel like they’re disqualified from buying books for the rest of their life unless they go back and finish that one boring book.

But life is too short, and there are too many amazing books to enjoy. You don’t have to finish a book if you’re not enjoying it.

If readers didn’t finish book one, they’re unlikely to pick up book two. This is especially important to understand in genres like fantasy and epic fantasy. Many writers aim to create a 12-book series, which can work, but only if book one is strong enough to sustain that long journey. The first book needs to resonate with readers not only now but also six years from now when you’re working on book six in the series.

Book one will serve as your primary marketing tool for the next several years. You’ll be using it for BookBub deals and running ads on it. You’ll be running discount deals on book one, so it must grab readers, pull them through to the end, and leave them thirsty for more.

Jonathan: Book one becomes your lead magnet. It becomes the bait or the hook to get people into your ecosystem. And that’s when it has established a reputation of pleasing readers.

When someone is reading a book, two main chemicals are hitting their brain. The excitement in your book triggers adrenaline, and the satisfying elements trigger dopamine. You have to have interchanges of the two chemicals to create a satisfying experience in a book.

When I write my books, I try to get the reader to make a physical sound when they’re reading. If I can get a “Hmm” or a laugh or sob from someone who is staring at thinly shaved wood and hallucinating, I consider that a success.

One lady put my book down, pushed it away, and smacked it because I freaked her out so much. She was like, “I’m waiting for book two.” It made her feel something and had an impact on her life.

People turn to books to have the normal flow of their day disrupted. Many people are working day jobs they hate. Maybe they’re doing customer service and hate dealing with people at their worst. They work eight to ten hours a day, and if they’re working a double, it’s worse. And for the 20 minutes they can stay awake at the end of the day, they are turning to you and your book for some relief.

You have to provide them the relief they are looking for, and if you don’t, they won’t come back.

How can we make a reader magnet more appealing to our target readers?

Thomas: What are some other ways to make the reader magnet more magnetic and appealing?

Jonathan: When you’re trying to attract someone, you need to give them what they want on an impulse level. You’re trying to hit them at a very low level of thought. If you’re using a high-level thought, it’s difficult to grab someone there because now you’re arguing with them.

An author must have a level of confidence in their product. They must know the reason they’re writing and who they’re writing to. They’re writing to change that target reader’s life, to make them smile, to give them a solution to a problem, or to help them get better.

Thomas: One technique that can help you develop a reader magnet that resonates is having a book club, reading group, or support group (for nonfiction) that reads your genre.

As an author, you can create the group and set the schedule so that every once in a while, in your military science fiction book club, you can say, “Hey, I wrote a military science fiction short story. Let’s read it and discuss it.”

Throughout the rest of the year, you can choose to read the number one military sci-fi book that came out each month. As you facilitate the discussion, you listen to discover what people liked or didn’t like. Interacting with fans of your genre is a great way to listen to your target readers. People would love to join a group that someone else starts.

Be the change you want to see in the world. Stop using your introversion as an excuse. Introverts are wonderful organizers for book clubs and writers groups. Extroversion doesn’t automatically make the organization easy, so if you do the work, you discover it’s incredibly rewarding.

As humans spend more time online, we become more uncomfortable around fellow humans in person. Your efforts to create in-person experiences are doing good in many ways. You’re helping your marketing and connecting people by helping them get out of the digital world and interact in real life again.

My book club is one of my primary social outlets. This is a very isolating time in my life because we have so many small children. It’s hard to get out and do things, but every other week, I meet with a group of guys to discuss books. We alternate reading fiction and nonfiction.

Jonathan: When you’re leading a book club, remember to allow free conversation, even if it turns into fights. Remember that you are data mining. When you’re trying to collect communications, you don’t want to jam the communications.

You never want to try to control the conversation because your goal is to listen. If they’re fighting, that’s even better. Arguments allow you to hear what readers are passionate about. They’re saying what they really think, so you need to pull those data points out because you’ll need that information.

But if you’re going to control what people are saying or say, “Oh, Susan, we don’t speak that way here,” then no one will talk. You can’t police what people are saying. So don’t jam your own communications.

Thomas: The more involved you are in the conversation, the less helpful the conversation is from a learning perspective. The more you talk, the less you listen. My dad always tells me, “You have two ears and one mouth.”

Additionally, the more you talk in the conversation, the more your preferences and worldview color it. That can be good in a normal conversation where you want to share your perspectives with other people. But when you’re learning about your readers from a marketing perspective, you should be listening.  

The more you listen, the better your writing will be. That’s the secret for really successful authors who are making a fortune from their novels. They tend to have a lot of empathy. They’re really good at noticing people and understanding them. Empathy allows them to craft believable and compelling characters that are distinct from one another and draw readers to their writing.

Readers are drawn to different characters, and authors who can sell millions of copies have different kinds of characters in their books that appeal to different kinds of readers.

Some people read because they like Harry Potter and others like Hermione, but those different, well-rounded characters appeal to different readers.

Empathy is key, and you develop it by listening. We’re not born with empathy; we have to learn it. Trust me. I’ve interacted with many small children over the last five years, and none of them are born with empathy. They do not care that they’re waking up mommy because they are hungry. Children do not care about mommy’s feelings. They just care that they’re hungry. We all have to learn empathy. Some of us learn it better than others, and it’s never too late to learn.

To develop empathy, start listening to understand
rather than listening for your turn to talk.

Thomas umstattd, jr.

Jonathan: You can cultivate that empathy by considering that maybe the idiot you’re listening to is saying something valuable. As you listen, you start to see where he’s coming from. Now, he’s not an idiot anymore.

As you understand what he’s saying and where he’s coming from, you start to see where he will go. When you know where he’s going, you can target him by placing a lead magnet or book in his path that causes him to make a quick decision at this low thought level.

How would you advise a writer whose reader magnet hasn’t attracted many readers?

Thomas: Imagine a writer has a reader magnet, but it’s not working. They have the magnet, but their list is still really small. Maybe it’s stuck in the low double digits. They’re trying to figure out why their reader magnet is not magnetizing readers.

What encouragement and advice would you have for that author?

https://youtu.be/qOfvokusOeg

Jonathan: I would first look at the magnet and ask questions.

• What do you want your magnet to do?
• What does your magnet do?
• Why isn’t it making an impact?

Maybe they’re offering two chapters, but those chapters only offer the setup. Readers haven’t read the inciting incident in chapter three, so there’s no chain. There’s no reason for them to stay engaged, so they move on. It hasn’t made an impact on them yet.

We’ll look at what your lead magnet is and does, and then we’ll start adjusting the impact zone.

Maybe your audience is hardened because the network has been targeted repeatedly by the same tactic, and it doesn’t work anymore.

Thomas: Some authors get advice from another author and simply copy tactics. However, the fact that another author is using that tactic on that specific audience makes it less effective for every author who copies that technique. Readers become so fatigued with the same kind of short story for the same kind of novel to the same tiny group of people on Facebook that the tactic stops working for that group.

It’s not that short stories or reader magnets don’t work; it’s just that they don’t work on that group of 50,000 people because they’ve all been repeatedly targeted with the same type of short story by all the authors writing in that genre.

Instead of copying another author, expand your horizons. There are readers of that genre who are outside of those 50,000 identifiable readers on Facebook.

Jonathan: You run into an insecurity problem, too, because authors are not the most confident people in the world. They’re taking art they grew in the darkest recesses of their hearts and displaying it for everyone to see. That’s hard to do.

When you add insecurity to that process you can read the data wrong. For example, maybe you’re doing a newsletter swap with another author who’s been doing newsletter swaps for three years. His audience is hardened to a newsletter swap, but you don’t see that. You think something is wrong with you, your lead magnet, or your book. Suddenly, you say, “I shouldn’t write anymore,” and that’s how you quickly achieve burnout.

I had to teach my marines, “No, you’re not a bad analyst. You just need to adjust your angle, try a different approach, and find a different way to find that guy.” Because that guy can be found. There’s always a way.

Thomas: Part of the reason the Novel Marketing method has worked for so long, and why this is the longest-running book marketing podcast, is that it doesn’t rely heavily on copying other authors. In fact, I’ve spent a lot of time trying to redirect my listeners and teach them to stop looking for advice, direction, and answers from other authors.

For example, if an author is wondering whether a book cover is good, they often post it on social media and get feedback from other authors. The Novel Marketing method teaches you to go to your reader and ask.

If you’re wondering what social network you should use, don’t look at what the other authors in your genre are doing. Look at your Timothy and see which social networks he uses. Often, your biggest, most strategic advantages come from being the first author to realize, “These readers are active on Rumble, and zero authors are talking to my reader there. I could be the only one there!”

Knowing your reader and asking them for information is a reproducible strategy, and it’s less susceptible to fatigue and hardening. You’re exploring what would work for your reader right now rather than copying what worked for another author last year.

Jonathan: In the intelligence community there’s a phenomenon called circular reporting, where you listen to someone who isn’t the target. For example, they write a report, and you write a report on their report. And then everyone else in DoD says, “Oh no, this guy put out a report on this, and it came from this source. Now, we all need to write a report on this.”

That creates a scenario where an exaggeration, assumption, or worse, a hypothesis, is reported everywhere in the DoD and considered credible. That will cause a strike to go wrong and lead to legal and diplomatic issues.

I see it happening in the author community all the time when authors listen to authors. You can’t do that because you’re not writing a book for that author.

Have you noticed authors don’t buy each other’s books?

Whenever you post a link in some Facebook author group saying, “Here’s my book!” no one buys it. We don’t buy each other’s books because we’re trying to hit readers. But if you’re constantly reaching out to a community of authors who are insecure and competing with you, you won’t get unpolluted data back.

Instead, you’ll get a feedback loop. A bunch of insecure authors will give you an overabundance of positivity. “You’re doing great. Your writing is great. You are valued. You are validated. This is a safe space for you. Your cover is beautiful (even though it’s illegible at a thumbnail size, which is the only place it works in advertising).”

That feedback loop is death to your career. You have to go to the source, which is the reader. You have to listen to how readers answer the following questions

• Did you like my book? Why?
• What was it about it that grabbed you?
• Who’s your favorite character?
• Did you grab it because of the cover?
• Did you grab it because someone recommended it to you?
• Why did you pick up this book?

Gather that data from the source. Never take intel from somebody who’s not the source. If you do, you have to gather far more data so you can be sure it’s correct.

You need to gather a lot more information to be sure it’s accurate. If you rely on just a few author friends telling you, “Go for it!”—remember, it’s your career on the line, not theirs. You’re the one paying for the ads and the book cover. Make sure their advice is reliable by checking your sources. Avoid getting caught in a feedback loop of circular reporting.

Thomas: Be the mommy bird going out and eating fresh food, not the baby bird getting the regurgitated food from the mommy bird.

Jonathan’s website is TheStrategicAuthor.com. Jonathan is available for hire if you need someone to handle or assist with your marketing efforts. He’s one of the few still accepting new clients.

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Personal Update

Every year, my family hosts the National Night Out. This program is through local police departments and is an opportunity to meet your neighbors. My kids and I put flyers on our neighbors’ doors, inviting them to come to our front yard, where I grill cheap hotdogs and corn on the cob. It’s a lot of fun.

As we’ve hosted these events, I’ve noticed that people are much nicer in person than on social networks for neighbors like Next Door. People are nasty to each other on that social network. They’re constantly complaining about each other’s driving and having political fights. Aside from the occasional lost dog post, it’s a negative and hostile place.

However, if these same people meet in real life, they’re incredibly polite. I’m looking forward to hosting our National Night Out.

In this episode, we talked a lot about social media, and I just want to remind you that you don’t need to do social media. Everything we talked about can be done in person. It might work even better if you do it all in person with people in real life. Speaking to groups of people in real life will always be more effective than the equivalent on social media.

You’re an adult, and it’s a free country. You can use social media if you want to, but there’s no pressure or need to use social media in order to be a successful author.

Related Episodes

• How to Create a Reader (Lead) Magnet
• How to Grow Your Email List Using Delicious Reader Magnets with Tammi Labrecque
• How to Run a Kickstarter Campaign for Your Second Book with Jonathan Shuerger