Can you make a living as an author without selling through Amazon? Many authors wonder.
Amazon is the sole revenue source for many indie authors, but Amazon’s algorithms can disable KDP accounts and cut off people’s income.
Authors find themselves pleading with a computer to reactivate their accounts while their livelihoods hang in the balance. While this scenario is rare, it does occur.
That’s why some authors connect with their readers without relying on Amazon.
How can you sell books without relying on Amazon?
What type of author can pull it off?
I talked with Connor Boyack to find out. He is an indie author who has successfully established himself in the middle-grade market. His series of 48 books has sold over 6,000,000 copies. He also launched a crowdfunding campaign to adapt his books into a TV show, which raised over $4.5 million.
How did you get started as a writer?
Connor: I was a terrible English student in school, so we’ll start there. I did not enjoy writing, especially about topics that didn’t interest me. My passion emerged after college when I became deeply interested in economic, civic, and political ideas.
Around 2005 or 2006, blogging was just beginning to gain popularity. I started a blog that gradually attracted a readership. I discussed some provocative ideas, but I became almost embarrassed because I realized my writing was subpar, and many people were reading it. So, I quickly learned how to improve my writing. I focused on mastering persuasive writing, took several online courses, and read numerous books to improve my skills. The success of the blog led to my first book. At that time, I had no plans to write multiple books or pursue a career as an author.
However, one book led to another. As the market demanded more, I leaned into it, and it has now consumed a significant part of my life, enabling me to produce valuable content. I’ve become very passionate about writing and often find myself advising aspiring authors and offering tips on how to succeed. I’m excited to share some of these insights with you and your audience.
Thomas: You have a very reproducible strategy, which I love. Blogging allows you to practice writing small pieces in public. You receive immediate feedback—or sometimes no feedback, which is feedback in its own right. For nonfiction writers, blogging is particularly beneficial.
I advise fiction writers to write short stories for the same reasons. Asking someone to review your 100,000-word novel is a massive request, but presenting them with a short story is more reasonable, and they’re more likely to agree to give feedback.
Starting with small projects is key. Many writers want to jump straight to their magnum opus, but there is value in mastering the basics first. Learning to write a blog post before tackling a chapter and mastering a chapter before attempting an entire book truly makes a difference.
Connor: Another benefit of adopting an incremental, serialized publishing approach is that it helps you build your core audience. When I wrote my first book, I had friends and associates review the early manuscripts. Regular commenters on my blog also played a crucial role. These folks became my early evangelists, spreading the word about the final book to their friends and purchasing multiple copies to give as Christmas gifts. Not only do you get feedback and practice, but you also start to identify people who can help you spread the word about your work.
Thomas: These are your real-life target readers. I call your target reader your Timothy. This is the guy who leaves a comment on every third blog post so that you get a sense of what he’s looking for.
Knowing these people in real life gives you the courage to be more specific.
A significant factor in your success, and why you’ve sold so many copies, is that your books aren’t trying to appeal to everyone. They are polarizing; people either love them or hate them. Most people have a strong opinion about your books, which is extremely useful for marketing. No one is lukewarm about the Tuttle Twins; you don’t hear someone say, “They’re okay.” That kind of strong reaction is key in driving interest and sales.
Connor: Ultimately, the strategy you’re outlining is what I call “flag planting.” You plant your flag in the ground and say, “Here’s what I stand for. Here’s what I believe. Who’s with me?” By making a provocative and bold statement or exploring a unique idea, you inevitably attract people who are interested in your perspective.
However, “flag-planting” will also repel those who disagree.
Some authors are very sensitive to criticism. They feel as though their magnum opus is being attacked. When CNN accused us of creating a “right-wing children’s education complex,” I saw it as an opportunity. I took a screenshot of the article, turned it into an advertisement, and put some money behind it. I emailed it to our list, which had about half a million subscribers at the time, with a special offer: “This weekend only, use coupon code ‘CNN’ for 50% off our books.” We sold over 100,000 books that weekend.
Taking a stand and being bold can be divisive, but it also magnetically attracts the right people. Additionally, it can turn those who oppose you into unwitting evangelists by providing you with material you can creatively turn into an advertisement.
Thomas: It’s better to be honest upfront about your content than to hide it, only for someone to discover it halfway through your book and think, “Oh my goodness, I didn’t know it had this content. I didn’t know this author was conservative.” Whatever your content is, if you don’t make it clear from the beginning, you risk getting negative reviews from readers who feel misled. By being transparent from the start, you avoid disappointing those who wouldn’t enjoy your book while attracting those who would.
Connor: I agree.
You mentioned the word connection earlier. The concept of connecting with your audience has been integral to our success. Many authors struggle to connect with their audiences, especially if they’re relying on intermediaries like Amazon or Barnes & Noble. When big companies connect with your customers, they get all their customer information, and only the big company can easily communicate with them about future opportunities. Authors don’t get that direct connection, which makes it challenging to build your following, your marketing strategy, and your social media presence.
You can get creative and mitigate that disconnect, but selling directly to your customers offers that direct connection to your audience, and that’s why I’ve become a fan of the direct sale approach. I want to know who my customers are, communicate with them, serve them, and create more value for them. I want them to trust me. Building a large customer list helps you sell books and opens opportunities for affiliate sales in your niche, paid public speaking engagements, and more. However, those opportunities don’t come if you’re not growing a list and connecting with your audience.
Thomas: Having a direct connection and being able to communicate with your audience also makes you less vulnerable to technical failure. It makes you more resilient to political opposition. Your direct connection means you’re less likely to get canceled. Your opponents can’t completely cancel you, and a partial cancellation can actually make your fans rally to the flag and gather around to defend you.
Were you planning to go independent from the beginning, or did you try to get a traditional publisher?
Connor: My first two books were more of a religious nature, so I went with a traditional publisher. My mother has published a couple dozen books, and at the time, the only way I knew was to publish with a publishing company.
It was an okay experience. While they did a good job producing the book, I realized they weren’t doing marketing. They had no budget for it. They didn’t really know my audience, even though it was part of the broader religious sphere within which they were publishing. I also realized I could hire people on Upwork to do all the things they were doing for me. And I thought, “Why am I surrendering the control, the data, and the revenue?”
Thomas: The semi-annual sales report from your traditional publisher doesn’t break down sales by distribution channels or dates. You have no idea what’s working.
How can you do the marketing without the data? If you can’t measure your marketing and what’s working, you’re guaranteed to lose.
Connor: How do you learn, iterate, pivot, and experiment if you don’t know what’s working? I didn’t sit down and have a strategic planning session about whether to go indie. I just realized, “I didn’t really like that part,” “Oh, wait a minute, I could do better than that.”
I shopped my first Tuttle Twins book to some publishers in 2013. I approached some children’s book publishers and said, “I want to talk to young kids and teach them about the ideas of a free society. We will discuss entrepreneurship, property rights, money, and individual liberty.” The collective response from those publishing companies was, “Interesting idea. We just don’t touch anything political.”
Then I approached the political publishers and pitched the same idea, and the collective response was, “Oh, we don’t do any kid’s stuff.”
In the early days, we found ourselves between a rock and a hard place, so we decided to self-publish and start our own imprint, which has now grown into a full-fledged publishing company. Independent publishing was a bit of a necessity, but I quickly latched onto the vision and opportunity it presented.
When I outsourced the cover design, editing, and typesetting, I thought, “That’s easy and affordable, and I maintain control. I can choose exactly what I want.”
Then we launched our own website and started selling books.
We made one critical decision at the beginning, which, in retrospect, I am grateful for. It wasn’t a well-thought-out decision. It was more of a hunch. We decided not to list the book on Amazon or any intermediaries.
The kernel of my idea was to start our own website and have people come to us. At that time, I didn’t understand how much power there is in having your own email list and the opportunities that come from connecting with your audience.
In retrospect, I’m so thankful for the decision. We didn’t list on Amazon until year six or seven because I wanted to know every customer who bought book number one so I could communicate with them and sell book number two.
If I’m on Amazon, I’m hoping and praying that Amazon will email customers to let them know there’s a second book in the series, but there’s no guarantee they will. In the marketing world, we call this “spray and pray.” You’re just throwing it out there, hoping customers who bought the first book will notice the new one.
We wanted to know everyone who bought the first book so we could directly inform them about the second, third, and so on, building momentum like a snowball rolling down a hill. Even after being on Amazon for a few years, our Amazon sales make up only about 1% of our total sales.
What platform do you use to sell through your website?
Connor: We have been using WooCommerce for the past decade, but we will transition to Shopify over the next six months. It’ll be a complicated migration because we have added so many features and plugins over the years, but we are persuaded that Shopify will be better.
If you’re starting, I would suggest looking at Shopify.
Thomas: If you’re small and just starting, I recommend using PayHip (Affiliate Link). They function as the seller of record and handle sales taxes and VAT. But once you’re selling over $1,000 in books every month, Shopify has powerful features you can use, and their checkout is second only to Amazon in terms of ease of use.
Connor: I’ve enjoyed using WooCommerce. However, as we’ve added more plugins, we started to experience “feature creep” and conflicting issues. It has caused some significant technical headaches on the backend. We’ve spoken to several companies that have migrated to Shopify, and we believe the move will help increase our conversion rates.
Additionally, page optimization and website loading speed are important factors. For various reasons, we felt that these cumulative benefits justified the switch to Shopify.
How did you print your first Tuttle Twins book?
Connor: We explored print-on-demand with Ingram and received some sample kits. However, I was dissatisfied with the limited options for sizes and paper weights they offered. My libertarian side dislikes this lack of control, and I wanted more freedom in our choices.
Ultimately, I decided to raise the money myself. Today, we’re structured differently, and we do all our publishing through a nonprofit.
We chose a local offset printer after getting competitive bids. As a result, I ended up storing many books in my basement. In the early days of the Tuttle Twins, I would come home at night, put the kids to bed, and pack a dozen orders while watching Netflix. The next morning, I’d drop them off at the post office on my way to work. I repeated this routine every day for a year or two.
As things picked up, I hired a part-time assistant, then a full-time employee, and then three full-time staff. We eventually got our own warehouse, and the business continued to grow.
Many aspiring authors see my current success and feel overwhelmed. I remind them that we started with bare-bones resources. It’s important not to compare your beginning to someone else’s middle. Let’s focus on those early days and discuss creative and entrepreneurial ways to get started.
Thomas: Every bit of your strategy is reproducible, including raising the funds. You don’t have to be a nonprofit to raise funds for your book. The nonprofit has the advantage of being a tax-deductible donation, but most readers will take the standard deduction on their tax return. Their tax-deductible donation of $20 to your nonprofit won’t reduce their tax liability at all.
Instead of forming a nonprofit, you can put your book on Kickstarter, Indiegogo, or another crowdfunding platform and raise thousands of dollars.
Check out the following interviews with authors who have run successful crowdfunding campaigns:
- How Karyne Norton Successfully Kickstarted Her Book in 1 Hour
- How to Build Hype for a Debut Novel
- How to Crowdfund Your Book
- How to Run a Kickstarter Campaign for Your Second Book with Jonathan Shuerger
Running a Kickstarter campaign is easier than setting up a 501c3, and it’s easier than operating through another nonprofit. If you operate through another nonprofit, you have to use their website, and it’s complicated.
Kickstarter is straightforward. Readers get rewards for backing your campaign; that reward is usually the book itself. You might give a signed copy or a special edition, but it doesn’t have to be elaborate.
The most successful campaigns on Kickstarter are those that clearly define their mission. People rally behind these campaigns. They feel a sense of ownership and motivation to spread the word because they know the book wouldn’t exist without their support. This creates a dynamic where orders keep coming in, which allows you to write more books and grow your team.
How did people find out about your books if you weren’t on Amazon or bookstores?
By using offset printing, your cost per copy for paper books was low enough to make a profit. With print-on-demand, authors often make only a few dollars per book sold. However, with offset printing, the profit margin is much higher if you can afford the initial investment.
Connor: I printed 5,000 copies of our first Tuttle Twins book. I paid around $2.30 per copy for a 60-page, full-color, 6×9-inch book and sold it for $9.99.
Ingram now charges around $5 for that same book. We translate our books into several other languages, but we don’t sell many of them, so I use Ingram to print our translated books.
Thomas: Ingram can often print those books in the country where the book is being purchased, which reduces shipping and tariffs.
Connor: Even at $2.30 per book, I still had to raise around $15,000-20,000 to build the website, pay my contractors, and print the book.
My customer acquisition strategy involved blogging, sharing updates online, and engaging on social media, which was mainly Facebook in 2013. I posted about the work in progress, such as the first character designs, and I asked for input and feedback in those posts. These behind-the-scenes glimpses were very effective for marketing. People felt involved and invested in the process, and that made them more likely to buy the book they had helped shape.
I had an email list from my blog, which served as my core audience. I launched the website with a modest fundraising budget of around $2,000 to promote the book. Then, we attended a few conferences, set up booths, and worked to spread the word.
In the early days, we attended more political conferences. Later, we transitioned heavily into homeschool conferences, where we now spend most of our time. We’ve also attended some parenting conferences.
In the early days, we attended a conference called Freedom Fest, which is a bunch of liberty-minded people who gather annually in Vegas. We set up a booth at Freedom Fest and invited people to teach their kids and grandkids about these ideas.
From there, word-of-mouth began to spread. Political books for kids were uncommon at the time, and people were interested because the concept was new.
Thomas: The Facebook algorithm was different back in 2013. It was much easier to create an image and have it go viral as people shared it widely. Today, that strategy wouldn’t have the same traction on Facebook, given the changes in the platform. Now, you’d need to rely more on platforms like TikTok or YouTube Shorts for that viral reach. However, building an email list is still a crucial strategy for today.
Connor: I completely agree that organic Facebook engagement does not work as it used to. However, the majority of our sales has come through paid Facebook ads over the years. Many authors deeply struggle with ads because they have no margin. When I was making only a few dollars pers sale, and I was reinvesting what was left to grow my business, I didn’t have much left to invest in marketing or customer acquisition.
If you have $5 of revenue per book sold, it’s extremely hard to acquire a customer. In fact, it is almost impossible to acquire a customer for $5 on many of these platforms.
About that time, we made a change. Someone recommended that instead of trying to sell a book, we sell a bundle. And that is where direct sales really shines. You can’t do that on Amazon.
When I had only one Tuttle Twins book, I sold it for $9.99, but then this individual challenged me to create additional value for my potential customers that would get them to spend $30 instead of $10.
So, I added a $6.99 activity workbook as a printable PDF. It was a one-time investment for us. It allowed me to say, “After your kids read the book, then they can do these activities to reinforce the learning from the book.”
Next, we offered a professionally narrated audiobook for $8.99. Then we created a parent guide and said, “Hey, Mom and Dad, your kids will be reading about this topic. You probably didn’t learn about it that well in school. Here’s a parent guide to help learn about this topic and a discussion guide to use with your kids.”
Suddenly, I had a bundle worth over $30. I could offer a 10% discount because my margins were $20 per book because of the digital bonuses I added to the bundle.
Since people were buying directly from me, I could easily fulfill the bonuses immediately because they could be downloaded. Since I increased my revenue margin, I had money to reinvest into ads.
Bundles have been our magic secret sauce. The key to our growth is charging a high enough price so that we have a healthy revenue margin.
I spent $3 million last year on marketing alone for these books. We sold $10 million in total revenue. That’s the power of reinvesting revenue and having that margin. So, paid ads on Facebook still work.
Thomas: Agreed. I read that Elon Musk is making changes to the advertising platform on X and that they’re adding a lot of AI.
Have you played with X’s (formerly Twitter) advertising platform at all?
Connor: I have a three-hour calendar appointment tomorrow morning to set up our X ads for the first time because I saw that post as well. I think it’s finally time for us to start experimenting with ads there.
Thomas: Once you do that, come back to the show. I’d love to do a case study. Twitter has grown by 50% since Elon Musk took over, and the number of bots is down. It’s now a much better platform, and the cost per click is around $0.41. It was much cheaper on a cost-per-click basis than Facebook.
In my initial experiments, it had better targeting than Facebook, especially for targeting anything religious. Facebook won’t let you target customers based on religious criteria. For example, if you write Christian romance, you can’t easily target other Christian romance authors on Facebook.
You can play games with look-alike audiences and figure it out, but you can’t explicitly do it. On X, you can target people who like the Babylon Bee or who are like the people who like the Babylon Bee, and that is useful.
Connor: The ads on X are extremely contextual. When the original poster at the top of the big viral thread talks about homeschooling, typically, the third post down is an ad related to homeschooling.
The ad is placed near the top of the thread, and it has to do with the topic of the thread.
On Facebook, we can target based on people who have a general interest in homeschooling. But I suspect our ads will perform better for us when we can target people who are directly in a conversation about that topic rather than targeting someone who had a general interest in homeschooling ten years ago when their kids were younger.
Facebook hasn’t updated its algorithm about what I’m interested in today, but on X, I’m participating in a conversation about homeschooling, and there’s an ad about books for homeschooling.
Many authors struggle because they think of themselves only as authors. They hope and pray people will buy. With that “spray and pray” strategy, sales are typically very low, and authors end up with a bunch of copies in their basement. It’s a frustrating approach.
I encourage aspiring authors to consider this career as one-third authorship and two-thirds marketing. Why bother creating the book if you don’t figure out how to get people to learn about it, buy it, and use it? Writing the book is only part of the equation.
A traditional publishing company is not going to market for you. If you’re going it alone, no one knows and loves your book more than you. You owe it to yourself and your book to spend the time to figure out these marketing elements so you can do justice to the work you’ve created.
Thomas: Exactly. You need a business mindset. You mentioned spending $3 million on advertising for your books, which is significant. You funded your advertising with revenue from book sales, not venture funding. This approach requires a business mindset and previous success. For instance, you might spend one million in one year, two million in the next, and save some of the profits each year to build a “war chest” for future spending.
It starts with being diligent in the small things, like selling and shipping those ten books on a Tuesday afternoon. You can’t spend all your profits on personal expenses. You need to save some of it, recognizing that the money from book sales is business money. Most of it should stay in the business to keep things running smoothly. You should pay yourself a salary from the business funds, which requires a shift in thinking. It doesn’t require an LLC or a formal entity, just a business bank account.
This mindset funds your art production. With a budget in place, you can plan new projects without worrying about costs. If an artist you’ve been working with needs more money due to inflation, you have the funds to pay them without scraping pennies together, thanks to your attention to the business side.
Connor: In my case, our illustrator is my partner, so we are 50/50 partners in the Tuttle Twins. In the early days, it was a joint venture for both of us to produce the initial and subsequent books. We both had skin in the game, and we were both contributing.
We now have a team of 15-20 people working on the Tuttle Twins, handling everything needed to sustain the project. I have a marketing team, people who run ads, content creators, and more. Even so, tomorrow morning, I will experiment on X because I care the most about what we’re doing. Before I delegate, I participate in the marketing as the author because it’s so central to connect with the customers and figure out how to communicate with them.
Learning marketing is crucial. I recommend two authors for those who are trying to learn marketing: Russell Brunson and Alex Hormozi.
Russell Brunson, creator of ClickFunnels, has a book called DotCom Secrets, which is an excellent starting point for learning about e-commerce. He simplifies complex concepts and makes them accessible.
Alex Hormozi, a social media influencer in marketing, has written 100M Offers and 100M Leads. His books are focused and highly effective for beginners, helping them create compelling offers and understand revenue margins. Learning from Brunson and Hormozi can build your confidence and provide a solid foundation for marketing strategies.
Thomas: I agree that paid advertising is the only thing on Facebook that still works.
Many authors believe that if they just spam a bunch of groups, they’ll sell books, but authors who are making money with Facebook are using your method. They’re not all selling directly, though.
If you have enough addictive novels in a series, you can send people to Amazon and make it work. But it’s easier to make it work if you’re selling directly and your audience is willing to buy from you.
Some groups of readers only buy on Amazon. If you’re not an Amazon, they won’t buy from you. But other readers are willing to shop outside of Amazon, and homeschoolers are among the most willing.
Connor: Let me take a slight issue with that. I think everybody is willing to go outside of Amazon if the incentives are strong enough. If I see a random book at Barnes Noble, you know I’m pulling up my Amazon app and having it delivered at home to save $3.00. The incentives aren’t strong enough for me to buy it in the store.
If I click on an intriguing Instagram ad, it may take me to a website I’ve never heard of before. But, if the value is apparent and the incentives are strong enough, I think everybody is willing to buy on a random website. You might see them offering two for one or a free audiobook with your purchase as an incentive.
But we rarely think about how to package things so that we can overwhelm the customer with value.
Thomas: I love the approach of offering a digital bundle. Authors on Kickstarter offer different bundles at different reward levels. You can easily transfer those reward-level packages and price points to your website.
What kind of sales do you see at a typical homeschool book fair?
Connor: For the first five or six years we attended, we did not sell any books. We brought books to display, and then we would give people coupon codes. We would encourage them to scan the QR code which would send them to the website where they could get the discount. That approach was born out of my laziness because I didn’t want to ship crates of books and deal with the logistics. I didn’t think it would be worth it.
But people want to walk away from the booth with the book. Their kid is with them, and they would love a signed copy. That feedback told me people wanted to have the book right away. I saw that other vendors had hundreds of books, so I figured there must be a way to make it work; I just needed to figure it out.
Last year, we started offering a free book. We would bring a bunch of books, but we would give them away if the customer would scan a QR code and join our text list. We use Attentive as our SMS channel for marketing.
In exchange for joining our SMS list, which would also sign them up on our email list, we would give them a book. Our cost per copy is about $1.05, and I figured $1.05 to gain a lead and build our list was great.
So, last year, we gave books that way. People still got the instant gratification of walking away with a book, and I still didn’t have to ship crates of books. But this year, we wanted to experiment with bringing all the books.
Gross sales at these conferences probably average around $12,000 for us at a two-day conference. After I ship books, pay my staff, and subtract the cost of the books themselves, we net about $5,000 per conference.
For us, that’s a drop in the bucket compared to online sales, where the volume is much higher. We will continue to sell directly at conferences and bring everything, but not because we’re making a great profit. The return on investment comes in the form of connection with our readers. Kids want to take a photo with us and get the book signed. When the mom posts the picture on Instagram, her 800 friends learn about the book.
I’m getting user generated content, third-party validation, and the word spreads. The conferences are an investment in making really happy customers. We’ve leaned into that approach.
Thomas: When turning strangers into customers, there are three stages: attract, engage, and convert. A conference can engage people at all three levels. For instance, a complete stranger might walk by your booth, see “Tuttle Twins,” and become curious. They might not buy anything immediately, but they may join your email list, which gives you a chance to contact them later. Some may have bought a book before but haven’t thought about it in a while, which gives you an opportunity to re-engage them. Conversion happens when they make a purchase.
Your main engine is online sales, focusing on growing your email list. For the first six years, you viewed conferences primarily as a way to build your list so you could eventually sell to those people online. Your strategy makes sense. Conferences are especially useful when you’re starting out. If you only have one book and a small list, you’re unlikely to make a significant profit at a book fair or homeschool fair. However, you will gain valuable practice in pitching your book to complete strangers. Every few minutes, someone new will approach your booth, so you’ll have many opportunities to refine your pitch.
This real-world practice is invaluable. You can observe people’s reactions. You can see when they lose interest and adjust your pitch accordingly. You also learn who responds best to your pitch, whether it’s teenage boys, certain types of teenage girls, or others. This feedback is incredibly useful, and it informs the rest of your marketing strategy by providing practical insights into your audience’s responses.
Connor: Our in-person pitching practice has significantly enhanced our online presence. When I find the right messaging and call to action that convinces people to make a purchase on the spot, that wording becomes the headline on our website and the key lines in our Facebook ads. The immediate feedback from real-world interactions serves as an excellent testing ground. It helps us determine which messages are effective and how we can replicate and scale them to reach a larger audience.
What made you want to start a magazine for middle-grade readers?
Connor: Publishing a book takes time, typically about a year for each in our middle-grade series. However, we wanted to provide more value to parents during the waiting period between books. When parents have to wait a year for the next book, they often feel anxious as their kids keep asking about the next release. To address this, we found a way to create monthly value, maintain a warm relationship, and keep the Tuttle Twins and their ideas fresh in our readers’ minds.
We introduced a monthly magazine called The Tuttle Times, which costs around $50 per year for subscribers. Our total cost, including design and production, is approximately $2.50 per issue, totaling around $30 annually. This leaves us with a $20 margin per subscription, making it both sustainable and profitable. However, our primary motive is to provide continuous value to our audience.
If we only sell a book, kids might read it multiple times in a few weeks and then move on. With a magazine, we maintain regular contact with kids and their parents. Additionally, I send two or three emails a week to parents, sharing thoughts on current events and other high-value content. This approach helps keep our audience consistently engaged and invested in the Tuttle Twins.
I needed a way to maintain contact and cultivate the kids’ interest, so that’s where the magazine fits into that strategy.
It’s an ongoing touch point to create more value and build that connection so that when I come out with the next book, they’re super excited to get it because I have warmed them up for months.
The magazine also becomes an advertising strategy for us. Every time we have a new product releasing, it gets a full spread in our magazine so that all those families who are passionate subscribers and customers are the first to find out about the new book.
Thomas: I love it. You’re growing books into a lifestyle brand, and we need it.
Check out ConnorBoyack.com or TuttleTwins.com to learn more
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