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20 tips for more effective Amazon book advertising

As an independent book publisher, I’ve had reasonable success reaching parents and readers through Amazon Advertising. Of course, I would like to reach more readers for Sean Yeager Adventures, and this is where you can help. Here are some free tips and more detailed notes for how to use Amazon Advertising more effectively. These are gleaned from many hours of using the tools Amazon provide in the highly competitive markets of selling UK and US children’s books. In exchange, please view a book page on Amazon for one of the Sean Yeager titles and see what you think. You can even use the Amazon Look Inside feature to read a few pages. Thanks in advance for your help. Yes, the Sean Yeager books are good. Check them out, there are also free sample chapter e-books!

Now without any more ado here are 20 focused tips and below them are more detailed notes.

In short:

Glossary: Term(s) means the search terms (e.g. ‘Harry Potter’) you load and bid for in a terms Campaign. Target(s) means the products (ASINs) you load and bid for in a product based Campaign.

  1. Experiment to work out which type of advert delivers the best results for your book(s) and strategies – products/categories, terms, brand products/categories or brand terms.
  2. Run three or four Campaigns of different advert types/targets in parallel, but no more
  3. Be careful in accepting Suggested Bid ranges especially high ones (above 0.40 cents/pence)
  4. Start low with your bids and review their performance for a few days/weeks
  5. Adjust your term/target bids by small increments (up and down) and check the results weekly/monthly
  6. Stick to your break-even average cost per click range (CPC) as far as possible. This may be as low 0.12 pence/cents depending on your click to sales conversion rate and your net income per book sale
  7. Tune your campaigns regularly (bids, terms/targets) using weekly, monthly, year to date metrics in the Amazon Advertising tool.
  8. Base bid adjustment decisions on your historical campaign metrics (Sales, Clicks to Sales, Clicks, CPC, Impressions, DPV, as well as target/term relevance)
  9. Prioritize terms/targets that resulted in sales but not to the exclusion of your break-even CPC or having a breadth of terms/targets – sales can be random and unpredictable
  10. Keep in mind seasonal demand and raise bids for your best performing terms/targets in Mar/Apr and especially in Oct/Nov/Dec
  11. Use a naming convention for your Campaigns with date, ad type, and tactics in the name
  12. Aim for 500 to 900 targets/terms per Campaign and expect only 300 +/- to receive Impressions
  13. Review Amazon’s Suggested targets/terms monthly and sense check the best ones to use
  14. Keep adding refined targets/terms based on related books, new releases, and new bestsellers, plus refined or related ‘Search Terms’ that resulted in clicks
  15. Keep your bid search terms as brief as possible – two to three words ideally
  16. Use Negative Terms to weed out unwanted Search Terms that led to ‘bad’ or irrelevant clicks
  17. Use the Amazon website’s search feature to preview what the search results are likely to be for your chosen search terms & adjust your terms to be key, stem words (e.g. ‘book 8 years’ not ‘books for children aged 8 years’)
  18. Select ‘expanded’ product (ASIN) targets for wider related Impressions
  19. Use a mixture of current, classic, high selling and lower selling product targets (ASINS) for coverage (it can be surprising where impressions are cheapest & effective)
  20. Experiment with tactics for a defined period – say a month – review, regroup and start fresh Campaigns if needed. Use bulk Archive, bulk Adjust Bids and then Copy Campaign to speed this up.

If you have made it this far and you promise to help spread the word about Sean Yeager Adventures (go on, you know you want to), here are some more detailed notes. They are wordy, so have a coffee on standby.

The long version:

On bid prices and Suggested bid ranges:

Amazon appears to apply all manner of rules in their advertising algorithm/engine. In theory, you are bidding for targets/terms against others. In practice, there are clearly tiers of suggested bids which have little or no relation to the results you will see for your book adverts. It is probable that the engine behind Amazon Advertising has many layers of adjustments and gives bid ranges as approximate quotes or even default ranges. Indeed, you can/will see the exact same target/term quoted with different bid ranges in two different concurrent Campaigns. Amazon support will not answer this question in a meaningful way – ‘your Campaigns are competing with each other’ was the explanation I received. To be frank, that answer side-steps the observable facts. Not all Campaigns are considered equal.

Consider the following example seen repeatedly on Amazon US (Jan ’23) – low, mid, high bids: $0.69, $1.42, $3.43. As a frequently repeating pattern, it is obvious this is not based on actual bids from advertisers. Instead, the engine’s code is repeating this suggested bid range for a reason. Either it has evaluated a Campaign’s worth to Amazon and applied a tiered rate or it has no idea what the current bid price range is for the given target/term in question. Or both. Either way, beware! If your Campaign is being set at a low priority it follows logically that you will be given high-end suggested bids. Whereas, if you experience a run on sales, you will see the suggested bids fall like a stone – probably because your Campaign is at a higher level of priority within the engine and Amazon wants to promote more sales of your book. Make the most of this period, it might be brief.

From my experience, targets/terms can attract good impression counts per day (100’s) at bids of 0.10 to 0.15 cents/pence. It does not always follow that Amazon browsers (customers) are actually looking in large numbers at the targets/terms with the higher suggested bids, and only actual impression/click/sale numbers – by day, week, month – will prove with evidence which specific targets/terms are delivering the best results for your adverts. Hence, experimenting is necessary to find the sweet spot for your adverts/books. Also, this sweet spot will change by season, especially in Nov/Dec when bids will increase due to more advertising spend. (The majority of book purchases being in Nov/Dec.)

High-range suggested bids for targets/terms (£1/$1+) could mean a mixture of two things – that many browsers are searching for them or that many advertisers are bidding high for them. (Or that Amazon wants you to spend more on them – cynical me). While it is tempting to bid high for bestsellers, it does not automatically follow that your adverts will convert better at higher bid costs and break-even for you. Therefore, you need to work out which, if any, of the high demand/high bid range targets/terms you can safely bid higher for in your Campaigns. Only experimenting will tell you this, and therefore you need to build up some metrics to analyse. Start with low bid prices – 0.10 to 0.20 cents/pence even for a high-end suggested bid range, and nudge upwards if you see potential from the resulting metrics (impressions, clicks etc).

Example – If the term ‘Harry Potter book’ converts well for your books at say £0.60/$0.60 bids, great. If not, you should reduce your bids (to say 0.12 to 0.15) or even cull the term from your Campaigns altogether. Here common sense comes into play – do buyers of Harry Potter want your book because it is sufficiently relevant to their needs/tastes?  Again, evidence in your Campaign historical metrics will tell you the truth. While most children’s authors would like their titles to sell to the Harry Potter buyers (parents/fans), it does not automatically follow that this is going to be borne out by actual click to sales figures. If it does, you will know a clutch of targets/terms to prioritise right away. If not, find other targets/terms, and there are thousands.

On break-even CPC and bid adjustments:

While it is tempting to bid £1/$1 for impressions and clicks on specific targets/terms, the value of the resulting clicks to you does not increase based on how much you bid. Instead, you will struggle to break even at higher bid costs unless your book converts at a high rate of sales to clicks (2 clicks to a sale for example). Only you can work out what that conversion rate is for your books (per Campaign type and bid type), based on your historical metrics, and it will vary by season – Nov/Dec being the primary buying season and hence the most expensive for winning clicks.

In addition, for Product adverts that appear in the ‘Also viewed’ sponsored section of Amazon search results pages (the ones that scroll left to right horizontally with up to 50 pages of adverts): Yes, if your ad appears on the first page you will stand a better chance of clicks and higher impressions. And, yes, you will have to bid higher to achieve this placement. However, the same break-even logic applies – what is the cost of these adverts relative to their return from sales? Spending £100/$100 per month for these product targets/placements) and achieving 10 sales per month at £2/$2 net income per book sale is not going to break even. (Clearly, 100 – 20 = a loss of 80.) And your thinking needs to be this granular or you are not going to be in control of your advertising spend and cost effectiveness.

From my experience, twenty ‘good’ clicks can be needed to achieve one sale. At best, in Nov/Dec, I have seen ten to twelve clicks being needed for one sale. The break-even bid cost (CPC) for a click can therefore vary but is typically in the range 0.10 to 0.15 cents/pence unless your sale to click ratio is far better.  This is also based on how much net revenue you receive for a book sale. £2/$2 +/- per copy being a typical net return for a KDP sold print / e-book. 

However, you can still bid lower than 0.10 and higher than 0.15 for specific targets/terms (except in Brand ad types with a 0.10 minimum bid) and achieve an average click cost within range, provided you monitor the results day by day or week by week. Yes, that is a lot of work, but it is your money you are spending, and you are a business with the aim of being profitable over time. (You might want to chant that line a few times.)

A note on Amazon Campaign level Bid Adjustments – don’t use them until you are clear on their outcomes. And then use them sparingly if at all. An uplift of 100% could literally mean paying twice the price for the same value click without any guarantee that the browser (potential customer) was about to purchase. To be frank, Amazon does not know who will buy in a given browsing session (how could they?), but they do know how to entice the advertiser to pay more for a single click. The house always wins and you won’t get a refund as the advertiser if the browser clicks but does not buy at a £3/$3 adjusted bid per click!

On tuning Campaign bids per target/term

What do I mean by tuning? Let’s start with some assumed targets and build forwards. Let’s say we want 2,000 impressions per day for a Campaign, we are aiming for 10 clicks per day, and we budget a £1/$1 per day spend for this Campaign for a period that is not Nov/Dec. Clearly, you can scale this up based on how much you are willing to risk, and spend more in Nov/Dec. However, this is a good starting point to learn and gather historical metrics for your adverts/books. 

We should tune our bid prices weekly and monthly based on what targets/terms give the best – 1) sales, 2) relevance, 3) impressions, 4) clicks, 5) DPVs – detail page views (for Brand ads). 

Sales – it goes without saying, if you convert well (low clicks relative to high sales) at a bid price for a target/term (within the same year) you prioritise this target/term and keep monitoring. But remember, sales can be random events – it does not automatically follow that a target/term will always sell your product at a profitable break-even bid price (CPC), you may still need to reduce these ‘proven seller’ bid prices over time if they fail to deliver on a break-even level. Either way, note what sells in a document, Amazon Advertising holds Search Terms for 65 days.

Relevance – Amazon is built on concepts that include relevance. We can also conclude that Amazon prioritises revenue for itself – which books sell and which adverts make money for Amazon through the cost of advertising. Beware of the latter, the house always wins. 

Relevance means – based on actual metrics, is a browser for X going to have an interest in your product? Has Amazon seen sales go through for your book and these targets/terms? If so, great you are beginning to progress and your suggested bid price ranges may reduce over time for the performing Campaign.  If not, it will probably require hunches and experiments to find and establish relevant targets/terms and earn better prominance on Amazon as a whole. Remember, with good sales comes organic placements and recommendations by Amazon. Also, intuition and honesty come into play. Spending a lot on advertising for targets/terms that are not closely relevant to your book may yield a lot of impressions and clicks, but it is sales that you need! Hence, as a strategy, stay relevant in your choice of targets/terms on the whole.

Impressions – Your book(s) need to be seen to sell. They may sell today or a few days later based on a browser’s click or two. And seen means visible on the main search results pages for other products. Impressions can be misleading in numbers terms. Page 40 impressions on ‘Also Browsed’ are not a lot of use for your aims. However, each target/term needs to deliver at least double-digit impressions to be of any value for your aims. A larger number can be good, provided the target/term is relevant and specific enough. To be clear, if a target/term attracts only one impression and a sale, guess what? You’ll naturally  go after more impressions for the same target/term. And this can happen, although there is no guarantee this focused tuning will attract more sales due to the randomness of what was in the browser’s mind at the time they searched for a book – i.e. this click/sale could have been a fluke. It is better therefore to build up a set of targets/terms that reliably give good impression counts week after week as the core of your approach.

Also, gaining thousands of impressions by targeting the latest best-selling book might bring visibility. However, how many browsers clicked? And did any buy your book? These kind of tactics can be morale boosting but without sales conversion they are a distraction from your core tuning. You can also argue (and I’ve debated this inwardly) – if these targets/terms cost little, where is the harm? My advice is to try a few of these but don’t rely upon them in a scatter-gun manner. And bid low for these high flyers unless you see a healthy sales conversion rate (sales to clicks).

Clicks – There are good clicks and bad clicks. With Search Terms you can tune out the bad click results for your bid terms and to a limited extent for products and categories. Each bad – as in irrelevant Search Term that did not lead to a sale – is a cost burden and needs to be limited or culled. You can use Negative Terms to eliminate the worst bad clicks. You may need to cull or reconsider the words in too broad a bid search term as well. e.g. ‘Children’s Book’ as a ‘Broad’ term may lead to all kinds on unwanted clicks – childrens toy, railway book, book about West Africa etc. Sometimes, the matched Search Terms for clicks can be bizarre. I suggest limiting the use of Broad terms for this reason. I tried ‘Warriors’ once and it led to thousands of matches for a war veteran’s book, not the cat fantasy book series. Sadly, the resulting clicks did not lead to sales.

Good clicks should be nurtured, within reason. Good clicks lead to sales or the likelihood of a later sale. You should review the Search Terms for clicks and assess – Was this a close match? Were they looking for a book like mine to buy?  Did they buy my book later? Good clicks are to be encouraged within the average break-even range you have worked out for your campaign. And beware, not all clicks are of equal value to you. A click that converts to sales is gold dust, a click that does not is a cost of sales. If no clicks for a specific target/term convert within say 20 clicks, pause that target/term and review your advert and product detail page. Something is wrong and needs to change – either your product’s presentation and blurb is too weak, or the target/term is not relevant enough to convert sales and should be culled or reduced substantially in bid price.

DPVs – For Brand adverts, Amazon provides metrics of Detail Page Views (DPVs) You should review the ratios of clicks to DPVs. Those clicks with low DPVs and low sales should have their bids reduced or culled. Because – if the browser did not proceed to review your book’s product page, they were not attracted enough by your brand advert to find out more. Either your brand advert was not interesting/relevant enough for the browser who had in mind that specific search target/term, or the browser was not minded to explore your brand further for other reasons. Obviously with adverts we want to attract good clicks and interested potential buyers. DPVs give an insight into which brand terms/targets are encouraging near misses. By the way, a target/term that converts sales will typically have a DPV value equal to or higher than the number of clicks it attracts.

In summary, by tuning your campaigns, weekly and monthly based on actual historical campaign metrics, you will gain insights to target more effective advertising – higher sales revenue, for lower average click costs, and lower costs per month. In the longer-term, this will help you reach break-even for your adverts/book sales. Clearly, if your book takes off in sales terms, you will be able to flex/loosen your controls. Whereas, if you achieve minimal sales, you may conclude after several months that your product is not commercially viable for advertising on Amazon Advertising and cut your losses. Either way, tuning is about gaining control of your campaigns instead of a splatter-gun approach of spraying adverts around, paying higher CPC amounts, and praying for sales.

I sincerely hope these tips and notes help you with your Amazon Advertising.

D M Jarrett

A trailblazing kids’ book series – Sean Yeager Adventures

  • www.seanyeager.com

Sean Yeager Adventures are fast-paced, page-turning stories written for enquiring young minds. They link ancient history with modern technology, sci-fi, and everyday lives. In writing them, we have focused on age-appropriate themes (8 to 12) and avoided preachy topics. SYA books are written to encourage a love of reading and adventures. The stories contain no agendas beyond this. Readers are free to imagine the characters as they wish and to experience what they experience. By not having to please a ‘right-on’ publisher, SYA books are traditional in their approach while being modern in tone, pace, and plotting. To reflect the real-world in fiction, the series contains a broad range of character types complete with strengths, weaknesses, and eccentricities. In short, Sean Yeager stories are fun, thrill rides.

In book 1, Sean Yeager chases after burglars and is drawn into a rollercoaster ride to retrieve his stolen belongings. By book 2, he meets Emily Campbell at a country mansion. Together they strive to locate a mysterious treasure, and clues about their missing fathers, while staying one step ahead of their arch-enemy – Darius Deveraux. Books 3 and 4 lead them deeper into the world of the Foundation and its struggle against ruthless enemies. As they travel the world, Sean and Emily learn more and more about their abilities, the Foundation’s origins, and their choices. The series to date includes four episodes and spans the UK, Egypt, France, the US, and Greece. Each episode is a self-contained adventure and links with the next in the series. SYA’s themes range from: spy missions to treasure hunts; city skirmishes to capers in orbit; island training centres to ancient dig sites; a jungle quest to an auction house deception.

Feedback from readers aged 8 to 12 has been very positive. They enjoy the boys-own quality of the stories and often comment about their favourite characters. Over the years each book has been re-edited and enhanced based on their feedback. We also listen to readers’ thoughts about plot points, characters, and requests for future storyline emphasis. As a direct result, Agent Stafford features prominently in book four. Each SYA episode evolves over many months and draws together multiple perspectives – those of the good guys and the bad. This helps us to keep Sean Yeager books fresh and appealing.

Check out an e-book sample from Amazon and see what you think.

Sean Yeager Adventures are available worldwide in paperback and e-book formats.

Happy reading,

The SYA creative team

Written to encourage young readers – Sean Yeager Adventures for ages 8 to 14

http://www.SeanYeager.com

Several years ago, we struggled to find suitable modern books for our preteen son. Sure, there were picture books and cartoonish books but there was little of interest for a boy at an appropriately stretching reading level. And to this day, the challenge continues with agenda-driven and dumbed-down books. After experimenting with short stories, I wrote the first two episodes in the Sean Yeager Adventures series. My aim being to write exciting, action-packed stories that built a solid foundation of vocabulary while speaking up to the reader. In other words, more complicated stories told in an easy to understand movie style that refer to real science and history along the way. In effect, to draw in the reader without them noticing. Several years later, I added a third and fourth episode and made improvements to the series guided by a group of excited young readers.

If you are looking for a fast-paced, easy read that asks questions of the reader, sample a free Sean Yeager Adventures e-book on Amazon. Each episode is self-contained and builds on earlier stories. Set in England, USA, and elsewhere, Sean and Emily encounter spies and agents in their quest to save their homes and loved ones from a ruthless enemy. Of course, nothing quite goes according to plan, and the adults involved don’t always help matters. Suffice to say, Sean and Emily often need to step up and save the day.

Welcome to world of Sean Yeager Adventures, a labour of love ten years in the making.

www.SeanYeager.com

Introducing the latest episode – Sean Yeager Mortal Thread for young teens:

The heroes of Sean Yeager Adventures – an exciting, hidden gem book series for ages 8 to 14

Hi there, now we’ve explored the bad guys in the Sean Yeager Adventures children’s book series, let’s introduce some of the heroes who are striving to thwart Krankhausen and Vrass’ ruthless plans.

  • Sean Yeager
  • Emily Campbell
  • The Founder – Cassius Olandis
  • Major Clavity
  • Agent Stafford
  • Maximilian Argentus
  • The Wanderer – Livia Tarvus
  • ‘KB’ – Victor Kyboamski

Sean Yeager – A brave, impulsive young teen who is unwittingly pulled into an escalating conflict he knows nothing about. Sean has to find his feet in an ever-changing landscape when his home is broken into and eventually demolished. While discovering abilities and a past he knew nothing about, Sean gathers clues about his missing father. Sean always does his best to protect others and evade Deveraux’s evil clutches, often at great personal cost. Fortunately, he is protected by Agents from the Foundation, although he often wonders if they are a help or a hindrance.

Emily Campbell – A feisty, slightly older teen who befriends Sean at Kimbleton Hall. Emily uses her keen detective skills to make sense of the chaos around them. She loves animals with the notable exception of ‘the cat’. When Sean’s impulsive nature leads him into trouble, Emily is first to pick him up, calm him down, and help to figure out an escape plan. She forms a close bond with Sean, and when she meets the Wanderer she explores her own unexpected abilities.

The Founder – Cassius Olandis – A tall, enigmatic man of indeterminate age who heads up the Foundation and previously commanded the Eternal Promise. Skilled in telepathy and neural suggestion, Cassius leads by using his Aether craft skills and instructs through direct communication. Few are aware of his past and even fewer would dare to ask him. However, Cassius is becoming frail and desperately needs Sean and Emily’s help.

Major Clavity – Sometimes unfairly viewed as clumsy and prone to mishaps, Clavity is a brave and loyal Foundation Agent from a military background. Assigned important missions by the Founder, Clavity risks his life to save others. While he’s not averse to regular snack breaks, which may have contributed to his physique, he often surprises people with his skill and determination.

Agent Stafford – Initially a flashy agent with a lofty view of himself, Stafford is brought down to earth by a series of challenging missions. He enjoys the finer things in life and is said he have been extremely lucky in lotteries. During the events of Mortal Thread, we find out whether Stafford can complete the mission he has dreaded for years. And whether he’ll make it on time for one of his coverted fine dinners.

Maximilian Argentus – Built like an ox, he is known to Sean and Emily as ‘Uncle Max’. Of unknown origin, Max is the right-hand-man to the Founder. Paternal and moral, he has guided Sean and Emily for many years. In Claws of Time, Max takes an interest in Sean and Emily’s training and leads an important mission to locate Major Clavity in Central America. Max has a calm, commanding influence and is the person you would want by your side when surrounded by ruthless androbots.

The Wanderer – Livia Tarvus – In Mortal Thread, we meet Livia after Sean and Emily embark on a lengthy journey. Sworn to protect life, Livia is a Hexator of the Gaia craft. She nurtures exotic creatures at the Ranch and refuses to engage in military action against Krankhausen or Vrass. Left to her own devices, Livia runs the Ranch with a cohort of Patersons and her treasured guard bird. No one is quite sure what Livia is capable of when provoked by aggressors, least of all Sean and Emily.

‘KB’ – Victor Kyboamski – A keen surfer, KB’s laid-back nature hides a sharp mind and remarkable engineering skills. When not ‘modifying’ equipment, he enjoys experimental cookery, fast cars, faster flying craft, and ultra-secret missions. His heroes include Agents Stafford and Geist after the events of Claws of Time. If you have a problem, KB can probably help, provided of course that the Ancients approve. Incept? Who are they?

To find out more about the exciting Sean Yeager series, explore free sample e-books on Amazon, or visit the Sean Yeager Adventures website.

www.SeanYeager.com

The artwork of Sean Yeager Adventures

Hi there,

Over the years, the Sean Yeager Adventures crew has had the pleasure of working with two talented artists who have played a major part in bringing the Sean Yeager children’s book series to visual life.

Joel Carpenter https://joelcarpenter.carbonmade.com/

Joel contributed some amazing covers and story artwork in the early days. His tireless concept work was a major boost for the visual identity and feel of the series.

In order, DNA Thief – with its amazing flying car and Sean Yeager’s DNA trace. Hunters Hunted – Sean and Emily discover the mysterious ruined cottage. Also from DNA Thief – Clavity and Sean narrowly avoiding the burglars’ van. Agent Rusham and Major Clavity race to Sean Yeager’s house. Brigadier Cuthbertson on hearing bad news at Foundation Control.

Andy Dodd – http://www.andydoddcartoons.com

More recently, Andy created some incredible covers for the next two Sean Yeager episodes which helped to signal the slightly older target readership as the series developed. Andy also brought some amazing light effects to the cover designs.

Claws of Time – Sean Yeager seizing the life-cog inside an ancient templ. Mortal Thread – someone activating a device using an orange crystal.

Looking ahead to the next episode – Sean Yeager Blade of the Quel – once the plot is well progressed, concepts and work on the next SYA artwork are sure to follow.

Sean Yeager Adventures is an exciting children’s action, adventure, sci-fi series. It follows the journeys of Sean and Emily as they seek the truth about their fathers while trying to save the Earth and themselves from a ruthless enemy.

For more information visit: http://www.seanyeager.com

Sean Yeager titles are available worldwide from Amazon and Ingrams affiliated retailers in UK and US English versions.

Please share this article and the website link to help spread the word. Sean Yeager Adventures is an independent labour of love which began in 2012. We take great care to provide high quality reading for young readers (8 to 14) guided by young readers. Free sample e-books are regularly available for Kindle on Amazon, or use the Look Inside book feature.

The bad guy characters in Sean Yeager Adventures

Hi there, here’s a quick tour of the bad guys in the exciting Sean Yeager children’s action, adventure book series for ages 8 to 14. Acquiring and leading their many helpers and ‘volunteers’ are:

  • Egbert Von Krankhausen
  • Darius Deveraux
  • Vrass
  • Seventy-one

Egbert Von Krankhausen – A wealthy international businessman with a sideline in criminal dealings. Early in the series, he is responsible for the burglary on Sean Yeager’s house. After his failure to give Deveraux what he wanted, Krankhausen is taken virtual prisonner and ‘encouraged’ to work on Deveraux’s evil plans. As a result, Krankhausen is seldom seen in public and has pleaded repeatedly for daylight and a vacation.

Darius Deveraux – Fair of skin and hair with blood-red eyes, Deveraux has a mysterious past. He runs Vrass’ expanding commercial and human empire in a ruthless manner. However, he is far from free and frequently feels the wrath of Vrass’ impatience. Wanted by the Foundation for years, Deveraux has an uncanny ability to fake his presence and slip away from danger. For a considerable time, he lived on a stealth submarine in international waters. Lacking any concern for human suffering, Deveraux is a very dangerous customer.

Vrass – Telepathic and alien in origin, Vrass is a Vuloz creature with a serious grudge against humanity. All most people see of Vrass are three black, penetrating eyes of malice in their mind’s eye. Vrass’ whereabouts are unknown and it is believed to be capable of spawning new Vuloz spores, swimmers, and warriors. Aquatic by preference, Vrass and the Vuloz are capable of rapid evolution and bio-engineering with dangerous results.

Seventy-one – An androbot of biological origins, Seventy-one is Deveraux’s chief aide. As if with most of Deveraux’s personal staff, its body was grown to order and fitted with technology. Seventy-one communicates directly with other androbots (controllers, warriors, scouts, sowers, and infected people known as sleepers) and relays Deveraux’s orders across his growing empire. Incapable of emotion, Seventy-one’s bio-electrical brain is ‘trained’ to interpret language literally with many misunderstandings.

Next time, we’ll explore the heroes and helpers in the SYA universe.

For more information about the Sean Yeager Adventures book series visit:

www.SeanYeager.com

What makes a story plot work? Pointers for plotting.

Hi there, now I am in plotting mode for Sean Yeager Blade of the Quel, here are some thoughts on what to consider when devising and reviewing the plot of your next story. Gathered from various sources and personal experience, I hope you find these pointers helpful in your story plotting.

  • Characters drive plot
  • Plots as sequences of actions and consequences
  • Unexpected challenges or barriers enrich a plot
  • Red herrings matter
  • Line up an unexpected twist or three
  • Know your resolution outline early
  • Flow charts, notepads, and whiteboards are your friend
  • Keep it plausible

Characters drive plot – What the characters want, how they go about getting what they want, and what their capabilities, drive the backbone of any story. If you map out the sequence for each major character it will help drive the substance of a story plot. Obviously, stories focus on what the characters do and how they interact, and this is shaped by their drives, their motives, their capabilities/weaknesses, and agendas. In addition, characters should evolve in their outlooks and behaviours after major experiences and during a series. It keeps things interesting for everyone if we care about the characters and ‘how’ they progress towards their goals. In fact, I would say ‘how’ is possibly the most important aspect of all. As in a character overcoming weaknesses and challenges that are unique to them, so that we care.

Plots as sequences of actions and consequences – It can be useful to use flowcharts to map out sequences of major events. This can consist of chains of events and what characters do as a result. Whether as parts of an overall plot, an arc for each character, or as the spine of the whole story. This can also evolve and act as a rough guide as the writing progresses and new thoughts arise (driven by characters and fresh ideas). Nothing has to be 100% set in stone until the final draft, but 60 to 80% firm helps. Write in pencil or wipeable marker – easily amended.

Unexpected challenges or barriers enrich a plot – As a plot technique, devising the barriers (challenge/solution cycles), particularly in mid-story, can be tough. Beginnings and endings tend to be easier in my experience. One approach I find useful is to think about the worst, best, and most unexpected things that could happen to characters as a result of their previous actions or plot events. Putting your characters through the ‘wringer’ can lead to great interactions and fun writing. Where do they need to go? Why? What compels them to take deviations along the way? And what stops them in their tracks – forcing a change of some kind?

Red herrings matter – As the writer, being aware of possible continuations and signalling that the characters are human and consider them can be very useful. Introducing dead-end clues or explorations within the plot is a great way of introducing humanity to the characters and the next layer of plot surprises. Few people in life go directly from start to outcome without distractions and setbacks along the way.

Line up an unexpected twist or three – To keep a reader turning pages there are many ingredients – quality, pace, wit, subject matter, caring about the characters etc. To encourage readers to finish a book and read more in a series requires the ‘not knowing what’s going to happen next’ aspect in a work. If a story is too predictable, it will usually be weaker as a result. So, throw in some planned surprises at intervals in the story. These can also help overcome the ‘flabby middle’ issue many books suffer from.

Know your resolution outline early – Some people like to be ‘pantsers’. I confess to being very much the opposite. Either way, its important to know what the story is building up to and at least the options you have in mind for how the story’s central conflict will be resolved. I say options, because foreshadowing and plausibility are important in the plotting and writing. There can still be different possible outcomes given realistic factors explored in the story, but it is important to know where you are heading – or you’ll never get there.

Flow charts and whiteboards are your friend – Whatever works in taking ideas down and exploring where they can lead. Again, nothing is set in stone until the final draft. I find mapping out complex plot lines helps. Also, getting away from the screen for plotting, and having a folder with various sections that I build up during plotting and preparing to write. It includes various headings – Characters, Plot Outline, Backstory, Includes, Questions to self, Brainstorm pages, Detailed scene by scene workings, Twist ideas, Writing prompts etc.

Keep it plausible – Bottom line, avoid deus ex machina and variations. No reader likes a character doing something completely out of character ‘just because’. Or a happenstance coincidence that is unlikely. Far better to have chains of cause and effect that make sense within the story’s logic. It is still possible to explore interesting areas, depending on the genre and to have an unexpected outcome. However, ‘the butler’s unknown son’s aggrieved lover did it’ is plain annoying. It’s right down there with ‘it was all a dream’. And Harry Potter fans skip a paragraph – ‘love conquers all, just because’ is copping out and a form of deux ex machina. A protective magical object/spell would have worked better and would have been easier to explain. e.g. Harry’s parents used an ancient ‘love pact’ spell which only works if one of them dies protecting Harry and by all wearing an object – thus Harry was a) saved b) splintered Voldemort’s soul without him knowing due to the spell and object he was wearing. I could go on, but please consider the main point – story logic needs to make sense. It can still be elaborate. Just because, is not a satisfying or plausible explanation for a major plot point after thousands of pages. And core plot implausibilities / inconsistencies are just plain annoying. Avoid them by explaining ‘how’ in plausible terms consistent with the story’s build up.

Above all, have fun plotting. I know some people find it tough to plot a story – and it is as with anything really worthwhile, but a good story will develop given time and repeated effort. Some people don’t plot at all – not sure how they manage that – and all speed to their writing! Personally, I think of it as designing the film I want the book to be. And until I am convinced a plot would make a good film, I don’t start writing the book. I figure that if the spine of the plot is good enough, the rest of the book can be refined and polished over the many editing passes that follow the first draft.

Best of luck and have fun writing.

D.M. Jarrett

For more information about the Sean Yeager Adventures children’s book series visit:

www.SeanYeager.com

Free Sean Yeager Adventures e-books

In the run up to the festive season, we are pleased to offer Sean Yeager e-books free on Amazon to help your buying decisions. Over the coming weeks, check out the sites for free sampler e-books of all four Sean Yeager children’s books and find out why young readers love the Sean Yeager Adventures series. Use the search term ‘Sean Yeager Adventures’ to find all the titles on offer or click on the links below. These e-books are also free every day with Kindle Unlimited, and the first two titles are available in full in e-book format.

UK: https://www.amazon.co.uk/s?k=sean+yeager+adventures&ref=nb_sb_noss

US: https://www.amazon.com/s?k=sean+yeager+adventures&ref=nb_sb_noss_1

Website: http://www.SeanYeager.com

Try before you buy into an exciting series of action, adventure stories that chart Sean and Emily’s quest. Written for readers from ages 8 to 14, the Sean Yeager book series has four episodes in print. Each story is self-contained and builds on the earlier episodes to take the reader on a rollercoaster ride unlike any other. Age appropriate and with themes of spies, adventure, quests, and mysteries, Sean Yeager books are designed by young readers for young readers. The print versions are larger than standard paperback sizes and have attractive matt covers. Each year, we review reader feedback and update the series, which means the current editions are the best they have ever been.

Please tell your friends and family to help spread the word about Sean Yeager Adventures. SYA is a real life labour of love, and in 2022 we celebrate our tenth anniversary.

Best wishes

The SYA team

Freshen up for Sean Yeager Adventures books one and two

We’re pleased to announce the next editions of Sean Yeager Adventures books one and two are now available. Building on the original stories, these editions are enhancements and tidy-ups of the previous editions, with Easter eggs relating to the latest episodes and slight tweaks to their plots. Drawing on reader feedback, these are the best versions yet of these action-packed stories.

Sean Yeager and the DNA Thief is the James Bond meets Star Wars in England episode. A lot happens, so fasten your seatbelt and take a deep breath. It’s been described as a rollercoaster – if the ride doesn’t stop for 4 hours.

www.seanyeager.com

Sean Yeager Hunters Hunte, has elements of Harry Potter meets Die Hard in a forest about it. Packed with incident, it’s brimming with action and mayhem. Estimated bill for damage sustained to property £100m.

And for completeness –

Sean Yeager Claws of Time takes us towards Indiana Jones territory, though (obviously) it’s far more involved than simply finding a lost relic. And the bad guys are really bad. Warning – lifeforms were impacted by the fictional happenings in this story.

Sean Yeager Mortal Thread transports the reader to orbit, the US, Greece, and of course, England. While there are a few aspects of The Expanse about it, everything is set in the alternate Earth time of SYA. If you can figure out whose side everyone is on, let us know.

Check out Sean Yeager Adventures children’s books online. Ideal for ages 8 to 14 and fans of action adventures.

http://www.seanyeager.com

Sean Yeager Adventures – the story so far

Hi there, here’s a quick run down on what to expect from the stories in the Sean Yeager Adventures series. As well as spies, gadgets, robots, aliens and action, there’s a plot that runs through the series from episode to episode. Written for ages 8 to 14, the series is age appropriate and designed to be easy to read. It also has deeper themes that develop throughout the series.

In the DNA Thief, Sean Yeager’s life is interupted by a burglary which leads to a hair-raising attempt to recover his lost belongings. Sean is introduced to the Foundation and a world he knew nothing about. For some reason, Sean’s DNA is the prize.

In Hunters Hunted, Sean meets Emily Campbell at a country safe house. Together, they investigate the mansion and find clues to a mysterious treasure and Sean’s father. Meanwhile, enemy forces close in around their new home and pursue them.

In Claws of Time, the wheels fall off the Foundation’s operation. Sean and Emily embark on a mission to save Major Clavity and encounter far more than they bargained for. Across the world, satellites are crashing and the clues lead to Darius Deveraux.

In Mortal Thread, Sean and Emily must find a way to save the Founder. However, the Foundation is divided and Deveraux’s forces have seized the initiative. Agent Stafford is assigned the mission he has long dreaded, while Sean and Emily search for the Wanderer and help from the US.

Thanks for making it this far. If this series looks appealing, please help to spread the word. Thanks in advance for your help. This series is designed to be intelligent, entertaining, and to prompt readers to research real world history and science while encouraging boys in particular to read more.