The Pros And Cons Of Exclusivity

Should you self-publish exclusively on Amazon? That is the question many authors consider whenever they put a book out.

side of the fence

Which side of the fence are you on?

Which side of the fence are you on?

The benefits of exclusivity

Here are my thoughts as to why you should consider exclusivity with Amazon, which basically means that you cannot publish a particular work anywhere else BUT Amazon for a 90 day period when you opt in with the checkbox on the KDP publishing page.

KDP Select and Kindle Unlimited

The KDP Select help page describes the benefits to opting in as:

  • Earn your share of the KDP Select Global Fund amount when readers choose and read more than 10% of your book from Kindle Unlimited, or borrow your book from the Kindle Owners’ Lending Library. Plus, earn 70% royalty for sales to customers in Japan, India, Brazil and Mexico.
  • Choose between two great promotional tools: Kindle Countdown Deals, time-bound promotional discounting for your book while earning royalties; or scheduled Free Book Promotion where readers worldwide can get your book free for a limited time. [Note: you can still make your book permafree if you publish on multiple platforms, pricing free and then reporting the cheaper price to Amazon.]
  • kdp selectHelp readers discover your books by making them available through Kindle Unlimited in the U.S. and the Kindle Owners’ Lending Library (KOLL) in the U.S, U.K., Germany, France, and Japan. Kindle Unlimited is a subscription program for readers that allows them to read as many books as they want. The Kindle Owners’ Lending Library is a collection of books that Amazon Prime members who own a Kindle can choose one book from each month with no due dates. When you enroll in KDP Select, your books are automatically included in both programs.

Ease of changes

One of the big pains when you go direct to all platforms is the timing of price changes for sales. You can schedule a price change on Kobo and iBooks, but Nook can take a few days and Amazon’s speed of change vary between 4 – 72 hours. Similarly, if you want to change back matter or fix a typo, you have to do it multiple times. Of course, you can use services like Smashwords, BookBaby or Draft2Digital and update once for all platforms, but I prefer to publish directly for the extra metadata fields I get on the various platforms.

If you are exclusive to Amazon, you only have to manage one site and one set of changes.

The drawbacks to exclusivity

There are several reasons why you shouldn’t be exclusive to Amazon.

Global growth of digital markets. Don’t miss out!

kobo sales

My Kobo sales in 58 countries

Amazon may be the biggest player in the US and the UK, but there are other retail stores and devices that dominate in other countries.

Germany, for example, is possibly the next big market for ebooks, and Amazon has 40% of the market. Apple iBooks and Tolino, an ebook reader and associated stores that are run by a group of German publishers, have the rest. I have found that my sales on the other German platforms match Amazon almost exactly.

My sales in Canada primarily come from Kobo, and both Kobo and iBooks break sales down into 50+ countries. We haven’t even got started in the massive Asian markets yet!

The Compound Effect

I’ve found that by going direct to iBooks, Kobo and Nook, I have started to grow an audience there, and my income ticks up every month as their compound effectecosystems discover my books. The Compound Effect by Darren Hardy is a fantastic book that describes how little actions taken every day can add up over time to massive change, or massive impact over years. You can’t expect to load your books up on Kobo and expect them to sell straight away, you need time in that market.

Mark Coker, founder of Smashwords, says in his post on exclusivity that,

“It can take years to build readership at a retailer.  Authors who cycle their books in and out of KDP Select will have a more difficult time building readership at Amazon’s competitors.”

I have seen the Compound Effect on my blog, my online platform and my book sales over the last six years. I know things take time to build, and a few hundred dollars a month now may grow if I stay my course.

Independence and possibility of disruption

I’m an independent author, so I don’t want to be dependent on any single income stream.

I love Amazon as much as the next indie author, as much as the next Amazon Prime junkie and happy customer, but in early 2008, I was laid off, along with 400 other people in one day from my department.

gfcMy one source of income disappeared very fast.

Few people saw the Global Financial Crisis coming, and we all had to adapt. Change is inevitable, so I choose to spread my bets amongst the retailers as well as selling directly from my own site.

In Jeff Bezos’ interview with Charlie Rose in Dec 2013, Jeff said that at some point, Amazon itself would be disrupted. He just hopes it happens after he is dead!

I think about the future of this business a lot.

I’m 39, and I am not just building for the next year, I’m building for the rest of my life and hopefully leaving something for my family when I’m gone. As Amazon continues to rise and rise, we see the push back of many different industries against their domination. Who knows what the next 5 years will hold?

Conclusion: My personal choices around exclusivity

One of the best things about being an indie is personal choice, but of course, this can make it harder as well. I can’t tell you what to do with your books, I can only say what I do myself.

  • For anyone with one book and no platform, exclusivity seems to be the best way to get your book moving, at least in the initial period. I helped my Dad self-publish his historical thriller, Nada, last year, and put that in KDP Select. There was no point in going with the other platforms when the majority of his sales would be Amazon, and he had no intention of doing any ongoing marketing for the book. Free books allowed us to get the sales started and get some reviews.
  • For translations, in a new market, with little ability to do other forms of marketing, exclusivity is also a good idea. I’m using KDP Select for my Spanish and Italian books, and the free promo days have enabled us to get the algorithms moving and get some reviews.
  • For an established series that you are building over time, using more than one site is my personal choice. The compound effect will mean that over time, as I add books onto the platforms, and reach readers one by one, my sales will grow on the other sites. I also like spreading my income streams so I am not dependent on one platform for my livelihood. That’s why the vast majority of my English language fiction and non-fiction is on all the major platforms.
  • Trying new things is important! For this year’s NaNoWriMo, I’ll be writing a stand-alone novella that I will put on KDP Select in order to try out Kindle Unlimited. As a reader, I love the idea of KU. I already utilize borrows on Prime and I consume a lot of books. I also love to play with the available options we have.

So basically, when you have multiple books, you can adopt multiple strategies. Fantastic!

What are your feelings around exclusivity? Do you keep all your books on Amazon only, or do you spread your books on multiple sites? Have you started selling direct, and why? Please leave a comment and join the conversation below.

Top image: Flickr Creative Commons fence by John Curley, solving the GFC by Cathrin Idsoe

Digital Only Deals, Translating Into German And The Launch Of Desecration-Verletzung.

The adventures in translation continue apace … and this one is a little different!

Desecration VerletzungToday, I’m excited to announce the launch of Desecration-Verletzung in German, which is part of a debut set of crime/thrillers from a new German digital-only imprint, Midnight by Ullstein. This article includes my thoughts on working with a publisher as well as an interview with my translator.

Digital Only Deal for Desecration with Ullstein Midnight

As part of my 50:50 royalty split deal with my translator, Hans Maerker, we discussed the possibility of pursuing a traditional deal as well as self-publishing. When the opportunity came up to work with Ullstein Midnight, a new digital imprint of a well-known German publisher specifically for crime and thrillers, we decided to go for it. I can’t go into specifics on the contract but here are some thoughts from the process:

  • midnight ullsteinWhile I wouldn’t necessarily be interested in a digital only deal for English language, it makes sense to work with an established publisher with great relationships and merchandising opportunities in a new territory and language. After talking with the great team at Midnight, I was keen to work with them to see what we could accomplish, given that J.F.Penn is unknown in Germany. I believe being an indie author is about making decisions that benefit your business, and partnering with publishers can definitely be worthwhile. I’ve had several skype calls as well as email conversations with the Midnight team and I’m impressed with their energy and willingness to try new things. That’s the kind of partner an entrepreneurial indie wants!
  • The process involved an extra layer of editing, which was great in terms of quality control and also made sure the book fitted the ‘voice’ of the new imprint. You can never get enough editing imho :)
  • The title is interesting as it is an English word and a German word together. Germany has copyright on book titles, so many international books use English words in titles. Verletzung can mean ‘violation’ which was my original title for the book anyway, so I’m pleased with it.
  • The cover design was redone and I did have some input into the process. I actually like this cover a lot!
  • Lesson learned: When I self-publish for free on the digital platforms, I just click ALL when it comes to countries for distribution. Traditional publishers don’t have the easy choice to just click the ALL button as there are more costs involved, so although Midnight have all the digital rights to German, the ebook isn’t available in Canada, or Australia for example. The thinking is that there aren’t enough German readers in those countries to warrant the cost of distribution. This surprised me, as of course, this is all free for indie authors and distribution has no overhead for us. How lucky we are!

With all these translation adventures, the view is more long term and I would expect to report back on how it’s all gone in a year’s time. Still to come in 2014, the Italian version of Desecration and possibly the Spanish Desecration.

Interview with Hans Maerker – translator for Desecration-Verletzung

You can also read this interview in German on Hans’ site here.

Hans Maerker

Tell us a little about yourself and your writing & translating background

I was raised in Germany, but my grandmother’s sister – who lived in the same house with us – was British. She exposed me to English when I was a little boy, and so I grew up with both languages. It helped me tremendously during my engineering career in aviation later on. Aviation requires precision, and I never liked to do things half-hearted anyway. It was a perfect combination. I was all over the globe, needed to immerse in English whenever I was outside Germany, and one lead to another. Prior to Airbus, the civil aviation scene was dominated by American aircraft manufacturers. So, I went to Berlitz, perfected my English, and focused on American English ever since. My passports looked like impressionistic paintings with all their stamps over the years.

Being in Quality Control shaped my ability to write precise reports and to do in depth research. I had friends in Singapore, Australia, and America over the years. I lived like a cosmopolitan, but that changed when I finally left Germany and moved to America. That’s where I met my wife, and worked as an avionics instructor for an US airline. The airline changed their aging fleet at that time, and that required not only teaching aircraft systems in a classroom, but those maintenance technicians needed training manuals for the new aircraft types as well. It was a totally different ball game but I had the knowledge, and felt the satisfaction, writing gave me. Even if it was technical writing and editing. It never changed from that moment on, and shaped me as a writer.

Returning to Europe after so many in the States happened just at the time when Germany changed the grammar and punctuation rules. I was thrown in the middle of it and had to learn the new rules. It was sort of a forced brush-up course on my mother tongue, but definitely benefitted my knowledge about its correct usage. My wife’s mother tongue is American English, and so we stayed in Germany for a while, but eventually moved to an EU country where maltaEnglish is spoken and German needed. That’s how we ended up in Malta, where we currently live.

What are some of the particular challenges about translating from English into German?

It depends on what needs to be translated. Technical instructions, actually any non-fiction, is more or less cut and dry translation, where you have to be precise in every shape and from. There is not much room for interpretation.

That’s completely reversed when it comes to fiction. Every language has its own special phrases and usage, to express the same thing. You need to be aware of the country, the habits of the people who live there, and more. Fiction lives off emotions and tension, created by the author. Having a dictionary next to you, or on your computer, doesn’t cut it as a translator. Sure, you can translate any fiction that way, but you risk to have a dull and boring story.

The ideal situation for fiction and non-fiction is, to have lived in this environment yourself. That you’ve talked to the neighbors, waited in line at the post office, or got stuck in traffic on an highway. The feeling and understanding for this different environment, its people, and their use of the language is something that shows in your translation of a story. No language school and no dictionary can teach you this experience. In my opinion, a good translator should have global experience, and not just doing the job after learning the ropes at school.

Why did you want to translate Desecration? And were there any surprises on the translation journey?

I think it was a combination of several facts. One was that I like crime or thriller stories. It’s because of the puzzle that needs to fit logically together. The other fact was that dark and extraordinary mood. The way how Jamie coped with her own emotions and problems.

As for surprises, yes, there were a few. However, they were more on the intellectual side, and not technically related. Pretty soon, I was deeper in this story than I expected. I basically immersed in the story, lived through Jamie’s emotions, and felt them while translating.

Why did you want to do a royalty split deal with an indie author? What are your tips for translators who want to do this kind of thing?

Two good questions. The first one is based on an emotional decision. I believe in myself and feel confident to tackle difficult situations. Those are the benefits when you’re around the block for a while. You know, you’re not only willing to give your best but you’re capable of doing it. If you do any work without really standing behind it, then it can turn into a disaster. No success, no payment. You work on a profit base, and that’s a challenge. It’s fair to your client too, but requires that both ‘click’. It’s based on trust and confidence on both sides. The chemistry between author and translator need to match. That’s not always given.

As for some ‘how to’ tips for other translators, I would say to them, ask yourself first whether you’re an entrepreneur type. Full time freelancers usually are, otherwise they wouldn’t make a living. Go for those authors who write the stories that you would like to write yourself. Look at the author’s website or blog. Read up on their history, and see whether you both have something in common. Trust your feelings in such a case, and approach the author. The final decision comes when translator and author communicate with each other.

How should indie authors find a good translator for their book? How do they evaluate it when they don’t speak the language?

That’s the most tricky part. Not so long ago, I read an article about the small world of translators. Never really thought about it until then. Usually it goes the other way round, and translators are approaching authors or work through word of mouth reference.

The worst part is probably the evaluation. References don’t mean a thing, as every non-fiction translation is different because of the author’s different style. Best evaluation might be the route similar to editing. I would ask for roughly five pages of a translation sample, and hand the translator a more difficult passage of my manuscript. If you don’t know the language, then you have to hand those translated samples to some experts for an evaluation, and rely on their opinion. If the difficult passage got translated to your satisfaction, then the easier ones will pass the test anyway. However, this can be an iffy situation already. Hand the same [fiction] translation to three experts for an analysis, and you will get three different opinions.

How do translators work with authors during the translation process?

It depends where they are located. Most of the time, author and translator live far from each other. Yet, in our digital world, this is no problem anymore. The standard communication routes are email and Skype. The more important one is probably email, as it is quick, can be sent at any time, and allows attachments.

You can find me at and on twitter @h_maerker


Hans and Joanna both use Filofax diaries!

Note from Joanna

I found Hans brilliant to work with as he has a strong work ethic, translating faster than anticipated to meet the launch deadlines for Midnight. He’s also very organized and responds promptly to emails and work requests. I’ll admit to a little control freakery in my approach to my business, but our emails and skype calls made me feel confident that this project would go well.

We have also kept honesty and openness as our guiding principle around feedback and money discussions. Critical in any business relationship! I schedule most of my meetings months in advance, and Hans was comfortable with that – we even share the same habit of using an old style Filofax as our diaries.


Der Tod ist erst der Anfang!

desecration germanDie junge Frau ist reich, schön – und tot. Inmitten der alten medizinischen Ausstellungsstücke des Royal College of Surgeons liegt ihre sezierte Leiche sorgsam aufgebahrt. Detective Sergeant Jamie Brooke sucht einen ungewöhnlichen Mörder und ahnt, wieder einmal muss sie bei ihren Ermittlungen ungewöhnliche Wege gehen. Denn sie hat nur eine einzige Spur: Eine kleine antike Elfenbeinfigur, die neben der Toten gefunden wurde. Nur Blake Daniel, Hellseher wider Willen, kann Jamie jetzt noch weiterhelfen.

Als ein schrecklicher privater Schicksalsschlag Jamie zeigt, wie nah der Mörder ihr mit seinen makabren Phantasien schon gekommen ist, ist es beinahe zu spät. Denn je tiefer Jamie und Blake in eine dunkle Welt aus Grabräubern, Missgeburten und rituellen Zeremonien tauchen, desto gefährlicher wird es für ihr Leben …

Jetzt kaufen

amazon-iconibooks icon

Google Play


Midnight Ullstein

Do you have any questions or comments about publishing in German or any suggestions for marketing ideas? Please do join the conversation and leave a comment below.

Filofax image: Flickr Creative Commons Heudu

How Audiobook Narration And Production Works With Rosalind Ashford, Audible Approved Narrator And Voice Talent

Recently, I outlined the fantastic services that provide for authors, as well as some ideas on marketing for audiobooks. Today I interview Rosalind Ashford, narrator for my dark thriller Desecration.

In the intro, I talk about my interpretation of the Hachette/Amazon negotiations and how power imbalance can impact us. I also talk about my upcoming travels, and book launches for the German edition of Pentecost, as well as the Spanish edition, also coming soon.

This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets kobo writing lifethrough the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors.

Rosalind AshfordRosalind Ashford is an actor, voice artist and Audible approved audiobook narrator. She recently narrated my thriller Desecration, available now on Audible, Amazon and iTunes. You can watch the interview on YouTube here, listen above or on the podcast feed on iTunes or Stitcher, or read the transcription below. We discuss:

  • How Rosalind got into audiobook narration, and her background in acting.
  • desecration pennWhy the audiobook market is growing and the exciting times to come!
  • What the job of an audiobook narrator includes – the interpretation of the work, reading it through, the performance and acting, the editing and production time
  • Aspects of editing and production including manuscript proofing – it can be 4-10 hours for every 1 hour of finished audio. Amazon Whispersync is only activated on books with a very close match to the text.
  • The different types of characters that Rosalind has narrated and how she remembers how they sound during production
  • The intimacy between the author and the narrator. The relationship that must grow for a good fit between the ‘voice’ of the author and the spoken words of the narrator.
  • Rosalind talks about why she chose Desecration as a royalty split deal, and the importance of the author’s platform in taking a risk.

You can find Rosalind and her many projects at

Here’s an excerpt of Desecration.

You can find the audiobook here:




Continue Reading

Self Publishing With NookPress And Marketing To Nook Customers

Barnes & Noble has been a well-known US book brand for many years, and the Nook has consistently been one of the top ebook retailers alongside Amazon, Apple and Kobo in the US.

NookpressBut up until March 2014, non-US authors couldn’t self-publish directly to the Nook platform. We could only reach Nook readers through other distributors like Smashwords. I struggled with price matching in the UK and since I wasn’t selling anything much on Nook, I pulled all my books from the platform in 2013.

But as soon as they opened up to UK authors, I jumped into NookPress and published all my books directly. In this post, I outline my experience with NookPress as well as things I have discovered about Nook marketing, plus, there’s a 25 min interview I did with Colin Eustace, General Manager of B&n Nook Europe with his thoughts.

Self-Publishing on NookPress Directly

I now publish direct on Amazon KDP, Kobo Writing Life, iTunes Connect for iBooks and NookPress. The sites all have their idiosyncrasies, with some good and some difficult parts. Here are my thoughts on NookPress:

  • Nookpress account

    Nookpress Project screen with drilldown per book

    NookPress is currently open to authors residing in USA, UK, France, Germany, Spain, Italy, The Netherlands and Belgium. You can also publish in French, Italian, German, Spanish and Dutch as well as English and be paid in your local currency.

  • The platform is easy to use, with the same type of interface as KDP and Kobo. It has an overview screen, drilldown into each book for changes and a sales reporting screen with monthly downloads.
  • It requires ePub format for upload, but I have found that the same files that load perfectly well on iBooks and Kobo have a lot of errors on Nookpress. I ended up paying for my files to be fixed up, because I have no patience with formatting! Read the guidelines if you want to do it yourself.
  • A great feature is that you can make a change to the file within Nookpress without loading a new file. This is useful if you just want to alter back matter e.g. add in links to new titles.
  • After you have loaded the book, I’ve found that the Preview screen might not reflect what an ePub viewed on another device might look like. An improvement suggestion is for Nook to do the same as Amazon and have Previews by device so we can see what the book will look like on a Nook phone app, versus a tablet.
  • You don’t need an ISBN to publish on Nook but you can optionally add one
  • You can choose up to 5 categories directly, which can only be done with keyword optimization on Amazon, otherwise you only get the usual two.
  • You can list prices in USD, EUR and GBP. It would be great for this to be expanded as the markets are.

Nookpress desecrationMetadata is critical, as with any publishing platform, and I have found that my sales in one month going direct are significantly more than several years going through distributors. I can only put that down to the increase in metadata possibilities since my email lists are not generally Nook readers.

The actual Nook retail site has some of the same bugs as Kobo, in that if you click on an author name you get a lot of extraneous random books. Something like Amazon Author Central would be great to group them together. The review functionality is also missing, so it’s hard for customers to tell what’s good unless the book has been picked for merchandizing. But overall, it’s easy enough to use and the result of publishing direct is increased control, speed of changes and direct royalty payments.

Interview with Colin Eustace, General Manager of Barnes & Noble Nook Europe

I had a conference call with Colin Eustace and asked him a few questions about Nook and how indie authors especially can optimize their use of the platform. It was great to hear him talk so enthusiastically about the importance of NookPress and the company’s future plans for expansion globally. Colin talked about the partnership with Microsoft being important for the cellphone and tablet market, and despite the negative press we hear from the US, it seems that the view from Luxembourg is rosy!

This was an audio only interview, so you can listen below, or download an mp3 file here.

Tips for marketing to Nook customers

I have been searching for that elusive tip that help rocket my sales at Nook. But, like any book marketing, there is no magic bullet! The same Nookpress blogrules apply as to the other stores: Get your metadata right. Write a great book and add an eye-catching cover. Make your sales description brilliant.

Beyond that, remember:

  • Link to your book on Nook. Make sure your website is linking to the sales pages at Nook as well as Amazon. If you tweet book links, use Nook sometimes and not just Amazon all the time. (You know you’re guilty of that!)
  • Make your book attractive to Nook merchandisers by using a professional cover, appropriate pricing and, as on other stores, the more books you have and the more popular they are, the more likely you will get noticed.
  • Use the Nook pricing options if you do paid promotions, like BookBub. You can just tick the box for Nook and then update your price. It’s pretty quick to get price changes through.
  • Network with Nook employees at conventions and book fairs. Humanizing the people behind the store can often be a way to become more positive about your chances to sell more books on a particular platform. You might have a chance for a merchandizing opportunity too, but please be professional in any approach. Don’t just try to sell your book. Be a human and network with authenticity. I recommend the tips in the great book, “Opening up to Indie Authors” by the Alliance of Independent Authors for anyone trying to expand their reach into stores as well as libraries and more.

What’s your experience been publishing with Nookpress? Do you have any tips for growing the Nook reader base? Do you know any specific advertising or review sites for Nook? Please leave your comments below.

Pentecost. Ein ARKANE Thriller Now Available In German

I’ve talked before about the truly mind-blowing possibility of rights exploitation as an indie author, and I am trying to put it into action myself as much as possible!

Today, I’m thrilled to announce the launch of Pentecost in German, now out in multiple ebook formats and coming soon in print. If you read German, you might also like to sign up for my German language list – giveaways and another book coming this summer!

I’ll be doing a mega blog post in the next few weeks on everything from the translation to the launch marketing approach, so expect more detail soon if you’re wanting to experiment with the German market too. For now, here’s the book!

Mysteriöse Kräfte wurden 2000 Jahre lang geheim gehalten. Eine Frau ist in Gefahr, alles zu verlieren.

Pentecost GermanIndien. Auf den heiligen Ghats von Varanasi wird eine Nonne bei lebendigem Leib verbrannt, und Unbekannte stehlen den Stein, den sie bei sich trägt. Das löst eine internationale Jagd nach den Reliquien der Frühkirche aus.

Die Pfingststeine haben die Feuer und das Blut der Märtyrer überdauert. Sie wurden über Generationen von Hütern weitergegeben, die ihre Wirkung und die Aufbewahrungsorte geheim hielten.

Bis jetzt.

In einer Welt, die sich durch religiösen Fundamentalismus verändert, werden die Hüter ermordet, und die gestohlenen Steine sollen für dubiose Zwecke verwendet werden.

Als ihre Schwester und ihre Nichte entführt werden, macht sich die Psychologin Morgan Sierra von der Universität Oxford auf die Suche nach den Steinen. Sie wird dabei von Jake Timber unterstützt, der für ARKANE arbeitet, ein geheimnisvolles britisches Regierungsinstitut, das auf übersinnliche und religiöse Erfahrungen spezialisiert ist. Morgan muss ihr eigenes Leben riskieren, um ihre Familie zu retten – wird sie dabei am Ende verraten?

PentecostGermanBanner2Die Suche nach den Steinen führt Morgan und Jake von frühchristlichen Stätten in Spanien, Italien und Israel bis in entlegene Orte im Iran und in Tunesien. Es ist ein Wettlauf gegen die Zeit, bevor ein neues Pfingsten heraufbeschworen wird, bei dem es diesmal um die Feuer des Bösen geht.

PENTECOST ist die erste Folge der ARKANE Serie. Der temporeiche Thriller handelt von Grenzbereichen des Glaubens vor dem Hintergrund von frühchristlicher Geschichte, Archäologie und Psychologie.

Jetzt kaufen



Google Play


vorablesen reviewsRead some of the early reviews on

„Das Buch hat mich ein wenig an Dan Browns “Da Vinci Code” erinnert, ist aber auf jeden Fall kein Abklatsch und es lohnt sich, das Buch zu lesen!”

„Zuerst war ich skeptisch und dachte ‚noch so ein Mystery-Thriller à la Dan Brown’ aber dieser Thriller hat mich von der ersten bis zur letzten Seite einfach mitgerissen. TOLL! Mehr davon!”

„Ich war positiv überrascht, wie es der Autorin gelungen ist, die Bibel so real in ihr Werk einzubauen. Ich werde sicher die weiteren ARKANE Bücher lesen.”

If you read German and have ideas for marketing, please do let me know! Or if you have any tips for marketing to German speaking readers, please leave a comment below. Thanks!