Tease Me
Last week I discussed scams. I want to clarify something. Not everything out there is a scam, but if I signed up for everything that got emailed to me, I’d go broke.
The publishing landscape today can feel oversaturated. There are low barriers to entry for self-publishing, thousands of books are released every day, algorithms that are difficult to predict, and a constant stream of advice telling authors they need to advertise more, post more, network more, and optimize more. That creates anxiety, especially for first-time authors who have invested years writing a book.
There are low bars for marketing people as well, and they can say anything about themselves. They might not be selling an obvious fraud, but they are selling hope and certainty, in many cases knowing even less than I do:
“We know how to get your book in front of readers.”
“We have an exclusive opportunity.”
“Industry insiders use this strategy.”
“Your book deserves a wider audience.”
“We’ve identified untapped potential in your catalog.”
“We’ll help you stand out.”
In many ways, what they’re selling is the idea that there is a secret sauce—a hidden technique, elite connection, or overlooked marketing tactic that successful authors know and struggling authors don’t.
The uncomfortable truth is that there probably isn’t a universal secret sauce. There are things that can help: writing strong books, publishing consistently, understanding your genre, building a mailing list, and finding readers who genuinely enjoy your work. But unfortunately, there is no proven formula that guarantees sales for every author.
That doesn’t mean marketing services are always worthless. Some editors, designers, advertisers, and publicists provide real value. But the burden should be on them to demonstrate it. But it’s on us to ask questions and ask for proof:
What measurable results have you achieved?
For whom?
Under what circumstances?
How do you know your strategy caused those results?
Why is your service a better investment than simply writing the next book?
I’m not telling you to stop dreaming about reaching readers. But I would suggest you spend your limited time and money more wisely. Join an organization, talk to other authors, and take a workshop to learn some of this.
In one of the scam letters I received, the writer suggested my backmatter should offer 1000 words of the first chapter of the next novel in The Devil Chronicles series—a teaser chapter. So let’s talk a little about Teasers.
Teasers
Teasers are designed to hook readers, build anticipation, and drive pre-orders, and they usually appear at the end of your book or are given away. I don’t put them at the end of my books because I prefer to write an epilogue that gives some direction on where the book is heading, among other things.
There also isn’t strong public evidence that adding a 1,000-word teaser to the back of a novel significantly increases read-through. What we have is industry convention, publisher practice, author anecdotes, and marketing logic that is driving conventions. Large publishers sometimes include first chapters of the next book, especially in romance, mystery, and thriller series. But they rarely publish data showing:“Adding a 1,000-word teaser increased Book 2 sales by X%.”
I’ve never seen reliable, large-scale numbers demonstrating that.
Factors consistently correlating with readers continuing with a series:
rapid release
strong endings
strong hooks
clear links to the next book.
A compelling epilogue that points toward Book 2 may accomplish much of the same thing as a teaser.
Why it might not matter much
The reader has already finished your novel.
If your epilogue already leaves them thinking: “What happens next?”
Then the decision to continue may already be made.
A teaser doesn’t create desire. It only amplifies desire that already exists.
The novel already ends with momentum. The epilogue introduces the emotional conflict of Book Two. Readers close the book wondering whether Damian can become the father his child deserves. That’s exactly the question that should carry them into the next installment.
I already have clear paths to Book Two. Your series page, retailer links, and direct-sales page make it easy for readers to continue immediately.
I already use the opening chapters of later books strategically. Through my BookFunnel promotions, the first 1,000–4,000 words of Books Two and Three attract new newsletter subscribers. That excerpt has marketing value. Including a teaser in every copy of Book One reduces one of my strongest incentives for readers to join my mailing list.
Print economics matter. Every additional page increases print cost. If the teaser doesn’t meaningfully increase read-through, I’m accepting a lower profit margin without a clear return.
Consistency matters. I don’t want print readers and ebook readers receiving different editions simply because one contains a teaser and the other doesn’t.
Readers have already evaluated my writing. By the end of a full novel, they don’t need another chapter to decide whether they enjoy my storytelling. Their decision to continue is based on whether they care about the characters, and my epilogue is designed to reinforce exactly that.
Will I change my mind someday? Perhaps. Publishing is always evolving, and so am I. But I’d rather make decisions based on evidence and what makes sense for my books than because “everyone says you should.”
Whether you’re an author or a reader, I hope that’s the takeaway from both this week’s and last week’s newsletters: be curious, ask questions, and don’t confuse someone’s sales pitch and confidence with proof. Sometimes the best investment isn’t the next shiny marketing idea—it’s creating the next great story.
If your experience with teasers has been great or otherwise, please comment.
