eBook Marketing and Sales

A solid eBook marketing and sales strategy isn’t about one big launch push, it’s about implementing and sustaining a process that continuously attracts readers, converts them, and keeps them buying.

Positioning (Don't Skip This)

Before you start marketing you need to define your target reader by being specific (age, gender, social status, etc of those who might be interested in your book), what is the core promise, i.e. the transformation your book delivers and identify the niches where you can hold some rank on Amazon. If you’re too broad, you disappear. If you’re too specific, you dominate a narrowly viewed niche.

Platform Strategy (Where to Sell)

Amazon Kindle Direct Publishing (KDP) dominates the eBook market so you have to be there.  You should strongly consider using Kindle Unlimited (KU) for visibility.

Other platforms are very, very, secondary and include: Apple Books, Kobo, and Google Play Books.

Sales Funnel (Where you make the money)

You need to think beyond one book and create a series with compelling tales in each book. Create a free or low-cost entry to the series, a lead magnet (e.g. a free short book or sample), one core eBook (£2.99–£4.99 being sweet spot price), follow-up books, a high value up-sell, meaning meatier books, cliff hanger story ending requiring the next in the series and courses for non-fiction or bundles and audiobooks for fiction.

Email List

Having an email list of readers is a critical asset and the route to follow-on readers. Use a mail or newsletter management tool like MailChimp, Substack, Ghost (hosted in the EU) or ConvertKit. Create a regular newsletter and offer often, exclusive content, preview of work in progress and snippets that act as a magnet for readers but don't over sell and then not deliver - be realistic.

Audience Growth

The cheapest and easiest way to grow is organically using social media but pick only one or two channels from TikTok (Hashtag BookTok) which is big for fiction, YouTube for tutorials, storytelling, or commanding authority (like an influencer)  and Instagram for visuals, quotes, reels.

This does not preclude you using other social media channels but restrict them to putting subliminal book suggestions with or without links in replies to others posts. Don't simply post a cover image and expect people to dive in and but. They won't. Try innovative content like behind-the-scenes writing exposes, story hooks or teasers and educational content if non-fiction. Be innovative and interesting. 

Amazon Search Optimisation

Optimise KDP information and make the information appropriate and relevant with an eye on what readers use during their book search. Attract readers who are likely to buy your book. For example title & subtitle where keywords matter, book description, making it sales conversion-focused, creating categories with low competition and high relevance and do the same for keywords.

Think like a person using a search engine here and not like an artist.

Paid Ads

If you have to use paid ads, start small by using Amazon Ads which are best for buyers already on the Amazon  platform, i.e. most of your readership!

Then perhaps expand to Meta Ads (Facebook/Instagram). Google Ads are less commonly used for eBooks.

Important: Don’t scale ads until your book converts well organically. You may not need to pay for ads at all if you get the organic strategy right.

Launch Strategy or Make Social Media Algorithms Work for You

Pre-Launch (2–4 weeks)

• Build anticipation using email newsletters and  social media.
• Recruit advance reviewer readers who are prepared to review your work.
• Collect early reviews.

Launch Week

• Offer discounted pricing (£0.99 at launch even).
• Push traffic hard.
• Stack promotions using email newsletters, social media, and perhaps ads.

Consider promo sites:

• BookBub which is  premium and very competitive.
• Freebooksy
• Bargain Booksy

Your goal is to increase eBook downloads, which will trigger Amazon ranking improvements and increase visibility.

Measure

Measure your success by calculating conversion ratios for each marketing campaign - how many sales from each activity.

Reviews Help Sales

Without reviews, conversion of marketing efforts into sales suffers. The best way to achieve reviews is to recruits advance reviewer readers, through your email newsletter list and with a clear-cut call-to-action in your book, at the beginning and the end. You should try for 25 to 50 reviews minimum early on. Reviews make you stand out from everyone else at best, or put you in the race at worst. No reviews? You're not in the race at all.

Branding & Author Identity

You’re not just selling a book. Instead, you’re building an author brand. So, for books of a genre, make the cover style consistent, write in a clear niche and don’t jump genres randomly, plus create a professional looking website. If you're writing in different genres, consider using different pen names so as not to confuse the readership.

Treat your books as products and your activities like a business, not simply a creative project.

Timeline

•  Month 1–3: Setup + first book
•  Month 3–6: Build audience + reviews
•  Month 6–12: Scale ads + series

Conclusion - Straight Talk

• One book rarely succeeds but multiple books often win.
• Marketing matters as much as writing.
• Email list equals long-term income.
• Series equals biggest revenue driver.

eBook Market 2025/2026 

Here’s a current snapshot of the eBook market in 2025–2026), its size and who controls it.

PYA have got it covered when it comes to selling physical books - essential for some kinds of books like picture books, cooking, travel, non-fiction and so on - as we organise book fair type events where members can promote and sell their wares.

There's a whole market for electronic books (eBooks) and it's growing so we've created a couple of blog posts dedicated to exploiting the eBook market plus the process - quite different to traditional books - of getting your book noticed and sold.

Remember that Amazon controls the majority of the eBook market and our advice - if you can't beat them (you can't), join them.

Overall eBook Market Size & Growth

The global eBook market is large and growing fast. Roughly $50–60 billion eBooks were sold globally in the fiscal year 2025–2026. It is forecast to exceed $200 billion by 2034. A further estimate places the retail market around $23–24 billion in 2025.

Growth Drivers:

Surprisingly, smartphones are used as primary reading devices and subscription models account for approximately~56% of the market, driven by self-publishing and/or indie authors plus the rise in education and professional digital content.

The market has expanded as a  separate digital media market and is no longer a niche.

Dominant Players

Amazon is by far the most dominant player in the eBook market place, controlling:  around 67–80% of eBook sales in major markets, up to approximately 88% of UK sales and it owns the entire ecosystem for eBooks, namely: Kindle devices, Kindle Store, Kindle Direct Publishing (KDP) and Kindle Unlimited subscription. This vertical integration is why Amazon is dominant as it controls book creation, distribution, reading device and  subscription through Amazon Prime - difficult if not impossible to usurp.

Much Smaller Second-tier Players 

There are some meaningful eBook players but none are close to Amazon in market domination.

The second tier eBook companies include: Apple Book with a 10–14% share, Google Play Books, much smaller but with a global presence, Kobo (Rakuten) who are strong in Canada and parts of Europe, and Barnes & Noble (Nook) who are declining but still relevant in the US.

Combined, these players split most of what Amazon doesn’t control.

Subscription & Alternative Platforms

The major platforms for subscription/commercially based lending (as distinct from public libraries) are Scribd or Everand type platforms which share 7–8% of the market in niche segments.

For public library lending Libby or OverDrive (Borrowbox) dominate.

Recent challengers like Bookshop.org are trying to support indie stores but are small players at present. An important trend is that subscription is becoming as prevalent as outright sales.

Market Intelligence

The eBook market is highly concentrated with over 95% of eBook sales go through just a handful of platforms, with some regional variations. Amazon dominates in the UK, US, Germany and Canada with  competition growing in Asia (local platforms emerging) and both France and Japan (where there are strong domestic platforms).

Dynamics shaping the market:

• Platform lock-in. Kindle ecosystem is closed (with proprietary formats, digital rights management[DRM]) and it makes switching platforms difficult.
• Self-publishing explosion. Amazon KDP is the default route for indie authors. A massive volume of books is created, thousands daily.
• Subscription shift. Kindle Unlimited and similar services are changing how authors get paid (per page read) and how readers consume books.
• Discovery problem. The real competition isn’t publishing, it is being found when there's a flood of new releases every day.

What this means for PYA Members, both Traditionally Published and Independently Published

Amazon is the gatekeeper of the eBook market. You can publish elsewhere but you’ll likely miss the majority of readers. The real strategic choice is whether to go exclusive (Amazon/KDP Select) or go wide (multi-platform, smaller reach per platform). Our advice - bite the bullet, swallow your pride and go Amazon.

Sources

[1]: https://www.fortunebusinessinsights.com/ebook-market-111315?utm_source=chatgpt.com "Ebook Market Share, Size, Growth & Trend, 2034"

[2]: https://dataintelo.com/report/e-books-market?utm_source=chatgpt.com "E-books Market Research Report 2034"

[3]: https://www.mordorintelligence.com/industry-reports/e-book-market/market-size?utm_source=chatgpt.com "Ebook Market Share, Size, Trends & Industry Analysis"

[4]: https://about.ebooks.com/ebook-industry-news-feed/?utm_source=chatgpt.com "Ebook Industry News Feed: News from the world of digital books"

[5]: https://www.wmtips.com/technologies/ebooks/?utm_source=chatgpt.com "Top 12 Ebook Technologies in 2025"

[6]: https://goodereader.com/blog/e-book-news/what-market-share-do-amazon-apple-bn-kobo-and-google-have-selling-ebooks?utm_source=chatgpt.com "What market share do Amazon, Apple, B&N Kobo and Google have selling eBooks? - Good e-Reader"

[7]: https://dataintelo.com/report/ebook-sales-platform-market?utm_source=chatgpt.com "Ebook Sales Platform Market Research Report 2034"

[8]: https://goodereader.com/blog/electronic-readers/amazon-is-the-dominant-player-in-ebook-sales?utm_source=chatgpt.com "Amazon is the Dominant Force in E-books - Good e-Reader"

Attracting a Publisher

With many manuscripts vying for attention, your goal is to make your book and you stand out as a low-risk, high-potential investment for a publisher, so...

Start with the book itself

A killer hook/premise: Your story should be pitchable in one or two sentences that intrigue (think “X meets Y” or “what if…?”).

Polished writing: Publishers expect near-ready prose. A strong developmental edit or beta reader feedback before querying gives you an edge.

Market awareness: Know where your book fits (genre, audience, comparable titles). Show you understand who will buy it.

Craft an irresistible query package

Query letter: Professional, concise, and engaging. Hook them with the premise, show the stakes, and highlight why this book matters. 

Synopsis: Clear, full-story arc summary, showing you can deliver a strong ending. 

Sample pages: The first chapter must grab instantly. Agents or publishers often decide within a page or two whether to read further. 

Show publishers you’re more than a book

Platform matters: Demonstrating a readership (social media, blog, podcast, newsletter, or speaking engagements) tells publishers you can help market your work.

Author persona: Position yourself as someone readers will connect with. Enthusiasm, professionalism, and that you are approachable goes a long way.

Target the right publishers/agents

Research submission guidelines carefully. Each house/agent has their own preferences. Small/indie presses can be more open to fresh voices than the dominant publishers or agents.

Personalize submissions, mention why you chose them, and show you’ve done your homework.

Demonstrate market potential

Show you understand who your readers are. (e.g, his book will appeal to fans of some-celebrity, who are active buyers in the fantasy romance market."). Reference those that sold well, not blockbusters, but solid mid-range successes.

Persistence and professionalism

Expect rejections. Even brilliant books get them. Don't give up. Revise and resend; each "no" is not the end but a chance to improve. 

Keep writing. Agents love authors with more than one book in them.

Try self-publishing but with your own ISBN's and create a follower list. The greater your presence in the market place, the more followers you have, the more influential yo are and the higher your sales will improve your chances of attracting an agent or publisher. But remember ... never pay anyone to publish your book for you - it's always a scam - always.

👉 Here’s an exercise for you: if you had to pitch your book in a single hook (under 280 characters) that makes it irresistible, what would you write?

 

 Ageing Disgracefully (Working Title) - Proposal for Next PYA Anthology - Call for Authors

Following on from the successful publication of the children’s anthology, ‘I Want a Crocodile and Make it Snappy’, PYA is excited to embark on its next collaborative title for adult readers. 

Ageing Disgracefully

The working title is ‘Ageing Disgracefully’ and will cover the themes of ageing in women. 

The proposal is for it to contain humorous, poignant, thought provoking and irreverent material. It might include:

• Poems
• Personal experiences 
• Short stories
• Limericks
• Sayings
• Letters

The anthology should not contain explicit images. Expletives may be used in context, however during the editing process PYA reserves the right in some instances to remove some letters and replace with asterisks.

As with the children’s anthology, the proceeds of the work will be donated to an appropriate Yorkshire based charity (to be decided on). 

Participating authors will retain copyright. 

Upon completion the anthology will be published both as an eBook and a physical book on Amazon. 

Submissions for approval by the PYA Committee should be made by 1st July 2026 to Jane Clack via yorkshire.author.promotions@gmail.com

It is proposed that an optional face to face meeting will be held later in the year where authors will be provided with an opportunity to collaborate on pieces of writing and to have fun! 

Guidelines for Creating a Book for Reluctant Readers

Understand Why they’re Reluctant

Reluctant readers are not all the same. Common causes:

• Low reading confidence
• Dyslexia or processing difficulty
• Boredom with traditional stories
• Preference for visual/digital media
• Limited vocabulary exposure
• Anxiety about “failing”

Your book must reduce cognitive load and emotional resistance.

Keep Text Manageable (But Not Babyish)

✔ Short chapters: 2–5 pages per chapter for ages 7–11.

✔ White space: Wide margins, shorter paragraphs, clear breaks.

✔ Simple sentences: Average 8–12 words per sentence for early reluctant readers.

✔ Controlled vocabulary: High-frequency words dominate, but include a few stretch words in context.

Font & Layout Matter more than Authors Realise

Many publishers follow principles similar to those recommended by the British Dyslexia Association:

• Sans-serif fonts (e.g., Arial, Verdana)
• 12–14pt minimum (often 14pt for KS2)
• 1.5 line spacing
• Off-white or cream paper
• Avoid italics and ALL CAPS
• Avoid justified text (ragged right edge is better)

Readable design increases success rates dramatically.

High-Interest, Low-Reading-Level (Hi-Lo)

This is the golden rule. Study publishers like:

• Barrington Stoke – market leaders in dyslexia-friendly fiction
• Orca Book Publishers – strong Hi-Lo catalogue
• Scholastic – accessible commercial series

Notice:

• Mature themes for age group
• Fast plot movement
• Strong hooks in first 2 pages
• Short total word counts (8k–20k depending on age)

Front-Load Engagement

Reluctant readers decide whether to continue within 1–2 pages, so pen with:

• Immediate action
• A problem
• A mystery
• A surprising voice

Avoid:

• Long backstory
• Slow world-building
• Too many characters introduced early

Illustration Strategy

For reluctant readers, illustration is not decoration, it is scaffolding, so use:

• Spot illustrations to break text blocks
• Visual clues to support comprehension
• Graphic-novel techniques (even in prose books)

Study the hybrid model popularised by authors like Jeff Kinney: the diary style dramatically reduces intimidation. If you’re developing illustration skills, focus on:

• Expressive character faces
• Clear action beats
• Visual humour
• Consistent character silhouettes

Chapter Rhythm Formula (Very Effective)

A strong structure for reluctant readers:

1. Hook/problem
2. Complication
3. Mini cliffhanger
4. Resolution (partial)
5. New hook

Every chapter should end with forward momentum.

Word Count Guidelines (UK Market) for Reluctant Readers

• Age 5–7: 1,000–3,000 words
• Age 7–9: 5,000–12,000 words
• Age 9–12:  8,000–20,000 words

Shorter is often better.

Themes That Work Especially Well

• Humour (embarrassment, chaos, exaggeration)
• Mystery
• Survival
• Animals
• Football / sport (especially boys 7–11)
• Slightly gross elements
• Competence fantasy (child smarter than adults)

Reluctant readers often respond strongly to agency-driven plots.

Emotional Safety

Avoid:

• Dense emotional introspection
• Ambiguous endings
• Heavy moralising

Reluctant readers need:

• Clear stakes
• Clear resolution
• Emotional clarity

Test With Real Children

Before publication:

• Read aloud and watch body language
• Time how long attention holds
• Ask what they “remember”, not what they “liked”. The memory test reveals clarity.

Commercial Positioning (Important if You Want to Sell Well)

In the UK, schools are a primary market. Position your book as:

• Dyslexia-friendly
• Hi-Lo
• Short chapter fiction
• Accessible for struggling readers

Librarians and SEN coordinators actively search for these categories.

If You’re Planning to Produce Your Own

Given the PYA CAG's interest in children’s book illustration and improving our craft, a strong strategy would be:

1. Write 8,000–10,000 words
2. Break into 20–30 short chapters
3. Add 1 illustration every 3–4 pages
4. Design with dyslexia-friendly layout
5. Print proof copies and test with 3–5 children

 Tips for the Children's Author Group Session of 19th February - Writing Magic into Children's Stories

This session of the Children's Author Group will be different and take a page out of the Writers' Support Group's methods for we'll be writing something in ten minutes to the theme of 'Writing Magic in Children's Stories'.

Here are the tips for writing a magical story if you prefer to prefer one beforehand and bring it along (you don't have to, we'll have ten minutes to write it at the session and Linda will explain the tips).

Magic in children’s stories works best when it feels wonderful, not complicated. Here are some tried-and-tested tips, sprinkled with a little storytelling pixie dust ✨

Keep the magic simple (but meaningful)

Kids don’t need a rule book. One or two clear magical ideas are usually enough, for example;

• Everyone can talk to animals only at night
• A book that changes its story when you’re brave
• Shoes that take you where you need to go, not where you want
• Simple magic sticks. Complexity can come later.

Give magic rules (even soft ones)

Magic is more fun when it has limits, which creates tension, for example:

• Magic might be tiring
• It might stop working if the character lies
• It might only work once per day, or once ever

Rules help kids understand consequences and fairness.

Tie magic to emotion

The best children’s magic responds to feelings:

• A room glows brighter when someone feels safe
• Spells fail when a character is scared
• Magic grows stronger with kindness, honesty, or courage

This helps kids feel the story, not just watch it.

Let magic solve some problems, but not all

Magic shouldn’t replace effort or growth. Bad example: “She waved her wand and everything was fixed.”

Better example: Magic helps open the door, but the child still has to walk through it.

Children love seeing characters succeed because they tried.

Make magic visible and sensory

Show magic through the senses:

• What does it smell like?
• Is it warm, does it fizz, does it tickle, is it loud, or timid?
• Does it leave glitter, footprints, bent grass or something behind?

Sensory magic makes scenes vivid and memorable.

Keep it age-appropriate

Younger children: playful, safe, reassuring magic (talking animals, friendly spells)

Older children: mystery, small dangers, moral choices, magical consequences

If a spell is scary, balance it with comfort or humour.

Let magic reflect the theme

Ask yourself: What is this story really about?

• Belonging → magic that reveals hidden similarities
• Growing up → magic that fades as the child learns
• Confidence → magic that only works when the character believes

When magic supports the theme, the story feels deeper without being heavy.

Don’t over explain

Children enjoy mystery. It’s okay if:

• No one knows where the magic came from
• Adults can’t explain it
• The magic 'just is'

A little unanswered magic keeps the sparkle alive.

Notes for the Promoting Yorkshire Authors (PYA) Annual General Meeting (AGM) Held Wednesday 21st January 2026

Paul Smith welcomed everyone to the PYA AGM and started with highlights of the Chair's Report before addressing the topic of the committee and subcommittee structure for 2026.

Highlights from the Chair and Finance Report

2025 has been another interesting year for PYA as we grew our membership to nearly 450 from across Yorkshire and welcomed many new members to some of our book selling events.

We moved and upgraded our website this year and have made easier the administration of bookings for events where members can participate (like book fairs).

Thanks to the generosity of the organisers, we were invited to attend the prestigious Harrogate Spring and Autumn Harrogate Flower Shows, at the Great Yorkshire Showground and Newby Hall respectively in 2025. We have also been invited to attend the spring show in 2026 (and hopeful the autumn show but this will depend on whether space is available for us), and are grateful for the opportunity to inform everyone about our Community Group and sing the praises of our members and their work.

PYA held two book fairs in the Ridings Centre in Wakefield and we've scheduled two for 2026 - in spring on 16th May and our Christmas book fair on 28th November.

We also held two Book Fairs at Claro Lounge in Ripon and one at Rudding Park near Harrogate but footfall was low for both of these events and we may decide not to run these again.

We're happy to support members who want to run their own book fair type events and promote them through our usual channels but the number of PYA organised events is limited and must be deemed worthwhile by the PYA Events Subcommittee. We have limited resources and we want book fairs to be a success for those participating.

We've continued our monthly ZOOM sessions and are grateful to Helen Johnson for hosting the evening and afternoon sessions of the monthly Writers' Support Group which helps us all improve our authoring with a ten minute writing exercise against a theme. You'd be surprised what can be achieved in ten minutes and the techniques that you learn in these sessions help you improve your writing skills.

The other monthly ZOOM session is hosted by Linda Jones and is the Children's Author Group. We've produced the anthology of children's stories and poems entitled I Want a Crocodile and Make it Snappy which will be published soon.

We linked up with the group "Books and Beverages" to hold a series of children's story and craft days at Knaresborough, Bilton and Harrogate Libraries in 2025 and have more arranged for Knaresborough in the coming year.

Finally, PYA were invited some time ago to link up with the writing group Thirsk Write Now (TWN) who meet by ZOOM every two weeks on a Tuesday at 7.30 pm during the year to read out a short story to a prepared theme. We've some regular attendees from PYA now so, if you are interested in attending, please let us know and TWN will add you to their distribution list to let you know of upcoming themes.

Promoting Yorkshire Authors for the Future - PYA-4F: The PYA-4F is our blueprint for the future and we've made progress on some parts of the framework - but it is very much work in progress. We've a PYA Beta Readers Facebook Group (by invitation only) and the PYA Blog contains useful information to help our members succeed in a crowded marketplace made more difficult - and in some ways easier - by the advent of AI. PYA-4F will be reviewed and if necessary updated in the coming year.

The PYA Finance report shows that PYA have £1,550.46 in net assets and our largest costs are insurance and technology.

PYA Committee: The committee and subcommittees resign at each AGM and those who wish can put themselves forward for re-election for a coming year. We also sought new members for the committee to replace those standing down and to add to the experience of the committee and sub-committees.

Paul Smith did not stand for election as Chair for 2026 and the committee thanked him, led by Mike Padgett, for his contribution to the formation and growth of PYA.

The committee for 2026 is:

• Core: Linda Jones (Chair), Paul Smith (Treasurer), Jane Clack, Kate Swann, Pam Golden and Ros Kind (Finance).
• Advisory: Joy Barnard, Yvonne Battle-Fenton, Lucy Brighton, Karen Drury, Phill Featherstone, Helen Jonson, Stuart Larner, Heike Phelan, Ian Walker. Mike Padgett retired and we thank him for his contribution to the growth of PYA. We welcomed Peter Kay into the advisory committee.
• Finance: Paul Smith (Treasurer), Ros Kind, Linda Jones, Kate Swann. Jane Clack retired from the finance subcommittee and we thank her for her contribution.
• Events Coordination: Paul Smith, Jane Clack, Linda Jones, Pam Golden and Yvonne Battle- Fenton.

At this point Paul Smith handed over the meeting to the newly appointed chair, Linda Jones and we welcome Linda into her new position within PYA.

From the New Chair

How do we move forward in 2026?

Perfect, promote and popularise: The three principles that underlie all that we hope to achieve. Over the past few years, we have made substantial strides in all three areas.

Perfect

1. Encouraging authors to continue to improve their writing skills by participating in writing sessions, whether by Zoom or face-to-face. (Linda)
2. Encouraging participation in the Beta Reading scheme. (Pam)
3. With volunteers, draft broad outlines for the establishment of satellite groups, which encourage members to set up local writing groups, PYA offering support and guidance to do so. (Linda)
4. Offer face-to-face meetings to work on a particular topic, such as formatting, marketing, etc. Road-trip the meetings to different areas of Yorkshire to improve accessibility for everyone. (Pam)
5. Provide blog posts and ZOOM sessions that explain the fundamentals of manuscript formatting and independent publishing. (Linda)
6. Encouraging members to participate in producing anthologies aiming to demystify the process of publication and improve skills. (Jane)
7. Focus on selling eBooks - encouraging members to promote these through digital channels to sell more in addition to selling paper and hardback at events (Paul)
8. Arrange a PYA convention – 2027 (Jane)

Promote & Popularise

1. Produce relevant flyers and posters for events
2. Supporting the production of a video involving PYA members that showcases the work of PYA, events and members.
3. YouTube: Supporting members to produce a short film about themselves that could be included. Could be a monthly spotlight on an author?
4. Continue to produce and circulate the Espresso newsletter 
5. Offer guidance and support to members wishing to organise a book event, including Book launches and book fairs.
6. Social Media – Utilise other networks so we provide varied platforms where members can view us and participate.  Mastodon and Blue Sky potentially.
7. Increase awareness of PYA using Instagram. A volunteer to maintain the Instagram page on a regular basis.
8. Press release volunteer. Ensure local press, libraries, and appropriate agencies and magazines receive information about events. 
9. Map of Yorkshire – indicating where our members are situated so we can easily reference areas to organise future events. 

Volunteering for PYA

We are asking for volunteers to take part in a variety of opportunities - from leaflet distribution to journalistic input.

Volunteering for PYA can help to improve your own marketing and self-promotion skills. Whether it's for an individual or an organisation, the principles are the same.

Please review the list below and if you can contribute, contact us through the general email yorkshire.author.promotions@gmail.com. Once we have names, we will contact you with more details.

We need volunteers to help with

• Designing leaflets and flyers
• Writing promotional articles for magazines
• Venue finders throughout Yorkshire for events (large and small)
• Organising additional author events throughout Yorkshire.
• Organise training events in various locations
• Production of a promotional Video and Video shorts.
• -Social Media, including Instagram, Mastodon, and BlueSky
• Producing a Map showing where our authors are located for easy access.
• Anthologies - in all genres (ideas welcomed)

We know that commitment can be difficult, but the more of us involved, the lighter the load. So, thank you so much for taking the time to consider this, and I look forward to working with you in the future.