Behind the Scenes: Gabriel's Secret That Even I Almost Didn't Write

Hey everyone! I've been getting so many messages about Gabriel's confession letters, especially that bombshell revelation about seeing Sol before the events of Betrayer even began. So many of you have said it made you want to immediately reread the entire series, and I have to admit—that was exactly what I was hoping for.

The Secret I Almost Kept to Myself

When I was writing the original draft of Betrayer, Gabriel and Sol's first meeting was... well, their first meeting. But as I developed Gabriel's character deeper, I kept coming back to this nagging feeling that there was more to his story. Why was he so immediately wary of Sol? Why did he seem to see through her masks so easily?

That's when it hit me: What if he'd seen her before?

I started playing with this idea of Gabriel sitting in that tavern, fresh from the most necessary—and traumatic—act of his life, and encountering this woman who represented everything pure in a world he'd just stained with blood. The more I wrote, the more I realized this wasn't just backstory, this was the emotional foundation of their entire relationship.

Why I Made It a Secret He Could Never Tell

Here's the thing about Gabriel: he's a man who carries impossible burdens. Making this confession something he could never speak aloud felt true to his character. Some truths are too heavy, too dangerous, too wrapped up in other secrets to ever see daylight.

I wanted readers to have access to Gabriel's deepest thoughts in a way that even Sol never could. These confession letters became my way of peeling back every layer of his carefully constructed armor and showing you the man underneath, the one who was "lost to her before he ever knew her name."

The Breadcrumbs I Planted

Looking back, I scattered hints throughout the entire series:

• Gabriel's immediate understanding of Sol's hidden anger

• The way he seemed to anticipate her moves

• His specific knowledge of how she carried herself when she thought no one was watching

• That line about her "hunting" even in that first scene

I love that so many of you are going back and catching these details now. That's exactly what I hoped would happen.

The Emotional Weight of Unspoken Truths

What breaks my heart about this particular confession is the tragedy of it. Gabriel watched Sol from the shadows, knowing he was everything she should fear, while she had no idea her future husband was sitting in that dark corner.

The irony that the same night he freed Tarrobane from its greatest monster, he saw the woman who would become his salvation? That wasn't planned. It just happened as I wrote, and I knew I had to keep it.

Why These Letters Matter to Me

These confession letters have become some of my favorite pieces to write because they let me explore Gabriel's voice in a way the main narrative never could. He's so guarded, so careful with his words when he's speaking aloud. But in these letters, written in darkness with only ink and parchment as witnesses, he can finally tell the truth.

They're love letters, yes, but they're also confessions, explanations, and sometimes apologies for things he can never say out loud.

What's Coming Next

I've got more confession letters planned, and let me tell you, Gabriel's secrets run deeper than you think. Each one reveals another layer of this man who's spent his entire life protecting truths too dangerous for daylight.

Thank you for falling as hard for Gabriel and Sol as I did while writing them. Your messages about these letters mean everything to me, and they're exactly why I decided to share Gabriel's deepest thoughts with you.

What confession hit you the hardest? I love reading your reactions in the comments!

Want exclusive access to more confession letters and behind-the-scenes content? Join my newsletter for weekly updates and sneak peeks.

How to Write Slow Burn Romance That Makes Readers Want to Throw Your Book Across the Room (In the Best Way)

Let me guess: you've read a slow burn romance that had you literally yelling at the pages "JUST KISS ALREADY!" while simultaneously never wanting the tension to end. You've probably also read slow burns that felt more like watching paint dry in slow motion.

All burn, no payoff, and zero emotional investment. Basically the literary equivalent of being catfished.

The difference between swoon-worthy slow burn and torturous tedium isn't luck or magic. It's craft. And it all started with one woman who understood that the best way to make readers fall head-over-heels for a love story was to make them work for it.

Jane Austen basically invented the slow burn playbook with Pride and Prejudice. We've all been chasing that perfect balance of "I hate him" to "I hate that I don't hate him" to "Oh no, I'm completely gone for this man" ever since. Elizabeth Bennet and Mr. Darcy taught us that the best romantic tension comes from two people who are perfect for each other but absolutely refuse to admit it for 300+ pages. It's like watching two magnets fight their own physics.

Getting Started: What Actually IS Slow Burn?

Slow burn romance isn't just "romance that takes a long time." (If that were true, every Nicholas Sparks novel would be slow burn, and we all know that's not the case.)

It's the deliberate, methodical building of romantic and sexual tension through prolonged emotional intimacy, delayed gratification, and carefully orchestrated moments of connection.

Think of it as the literary equivalent of a perfectly timed seduction. If seduction were an Olympic sport and you were going for the gold medal in Sexual Frustration.

Jane Austen mastered this with Elizabeth and Darcy. Every glance, every touch, every conversation builds toward an inevitable conclusion that feels both surprising and completely natural when it finally arrives.

Your Slow Burn Success Recipe

1. Foundation: Establish legitimate reasons they can't be together immediately

2. Emotional Intimacy: Build deep connection before physical attraction

3. Tension Escalation: Layer increasing levels of romantic tension

4. Proximity: Force them together repeatedly despite obstacles

5. Internal Conflict: Create believable internal resistance in both characters

6. Moments: Craft specific scenes that advance romantic development

7. Pacing: Balance tension building with plot advancement

8. Payoff: Deliver satisfaction that justifies the wait

9. 
   

Foundation: The Obstacle Course (Or: Why Your Characters Can't Just Use Dating Apps)

Your characters need rock-solid reasons why they can't just get together in chapter two. "We're both shy" isn't enough. You need obstacles that would make even a dating app algorithm throw up its hands and suggest therapy instead.

Take Pride and Prejudice. Elizabeth thinks Darcy is an arrogant snob (fair assessment), while Darcy thinks Elizabeth is beneath his social station (rude, but historically accurate for a man whose idea of small talk is discussing his property values). These aren't just convenient plot devices; they're believable barriers rooted in character and society.

In my fantasy romance, Betrayer, obstacles might be even more dramatic. Imagine a Kyanite healer who marries a Bloodstone warrior specifically to get close enough to kill his people's leader.

The fundamental incompatibility of their tribes, combined with one character's secret murderous intent, creates barriers that feel genuinely insurmountable. When Sol tells Gabriel, "I came here for Roland...to avenge my mother," we understand exactly why their marriage can never be a simple happily-ever-after. It's like bringing a knife to a wedding, literally.

Good obstacles:

• Professional boundaries (boss/employee, teacher/student)

• Family feuds that make Romeo and Juliet look like a minor disagreement over who ate the last slice of pizza

• Personal trauma that makes vulnerability about as appealing as a root canal

• Ancient tribal enmities with actual body counts

• One person literally being there to commit murder (awkward!)

Bad obstacles:

• "We're both too busy" (get a calendar app, people)

• "I don't believe in love" (this isn't a philosophical debate club)

• Miscommunications that one honest conversation could solve (we're writing romance, not a sitcom)

  
  

Emotional Intimacy: The Heart of the Matter (Or: How to Make Readers Ship It Before Your Characters Do)

In slow burn, emotional connection comes first. Your characters should understand each other's deepest fears and childhood trauma long before they understand how the other person tastes. It's like emotional archaeology. You're digging through layers of character to find the good stuff underneath.

Notice how emotional connection can develop even through conflict. When characters share vulnerable moments, like one comforting the other after nightmares or working together to heal someone despite their differences. These create intimacy that transcends their supposed hatred. When Gabriel tells Sol "You're safe" after her nightmare, he's offering emotional shelter before either of them admits to attraction. It's like emotional first aid, and frankly, it's hotter than most love scenes.

The key is showing characters seeing past each other's facades to the wounded person underneath. Make your readers think "these two just GET each other" before your characters figure it out. Your readers should be yelling "NOW KISS" while your characters are still pretending they hate each other.

Stop Thinking Like a Reader, Start Thinking Like Jane Austen (The Queen of Romantic Torture)

Here's where most writers go wrong: they're too nice to their characters. Slow burn requires a certain level of beautiful cruelty, and nobody understood this better than Jane Austen. She was basically the literary equivalent of a masterful chess player, moving her characters around while readers screamed at Elizabeth to just NOTICE that Darcy was clearly gone for her.

Austen knew that the best way to make readers desperate for two characters to get together was to make it seem absolutely impossible that they ever would. It's emotional torture in the most delicious way, like being offered chocolate cake while on a diet, except the cake is true love and the diet is plot obstacles.

The Art of Almost (Or: How to Drive Readers Clinically Insane)

Master the "almost kiss" and its variations. The "almost" doesn't always have to be romantic. Sometimes it's "almost trusting," "almost confessing the truth," or "almost letting someone see who you really are." These emotional almosts can be just as devastating as physical ones.

When Gabriel almost beds Sol multiple times but pulls back because "I don't trust you," that's an emotional almost that cuts deeper than any interrupted kiss. It's like being offered your favorite dessert and then having someone snatch it away right before the first bite, except the dessert is emotional intimacy and the person snatching it is your own character's trust issues.

Modern "almost" moments:

• Almost touching hands while reaching for the same thing (classic!)

• Almost confessing feelings before being interrupted by the world's worst timing

• Almost giving in to desire before remembering why they can't (hello, self-sabotage)

• Almost revealing a dangerous secret (the emotional equivalent of playing with fire)

• Almost admitting you don't actually hate them (character development, thy name is denial)

  
  

The key word is "almost." You're creating a pattern of anticipation and denial that makes readers desperate for the eventual payoff. It's like emotional edging for book nerds.

Forced Proximity Done Right (Or: How to Trap Your Characters Without Looking Desperate)

Nothing builds romantic tension quite like forcing two people who are fighting their attraction to spend extended time together. But it needs to feel natural, not like you threw a dart at a board of romance tropes while blindfolded.

Good Forced Proximity:

• Arranged or political marriages (they must live together and maintain appearances while secretly wanting to throttle each other)

• Traveling together for safety (nothing says romance like shared mortal peril)

• Working on a project together (professional torture at its finest)

• Snowed in together (classic for a reason. Mother Nature is the ultimate wingwoman)

  
  

When Sol and Gabriel share a bed night after night, unable to trust each other but forced into intimacy by circumstance, every moment becomes charged with tension. It's like being trapped in a room with your favorite person who also happens to be your worst enemy, and you're not sure which feeling is stronger.

Tension Escalation: The Slow Boil (Or: How to Cook Romance Without Burning It)

Sexual tension should build like a symphony, starting soft and building to crescendo. Map out your tension beats like you're conducting an orchestra of feelings:

Level 1: Awareness (noticing attractiveness, small reactions, "oh no, they're hot")

Level 2: Interest (longer looks, seeking excuses to interact, "accidentally" bumping into them)

Level 3: Desire (physical reactions, obvious attraction, sweaty palms and racing hearts)

Level 4: Longing (active wanting, internal struggle, "I shouldn't want this but I do")

Level 5: Desperation (can barely resist, high stakes moments, "screw the consequences")

Each level should last multiple scenes before escalating. Consider how Sol's awareness of Gabriel builds from irritation ("You're the worst patient I have ever attended") to unwilling attraction to active desire. When she finally tells him "Make me your wife, Gabriel," we've traveled through every level of escalation, and it feels earned, not rushed.

Character Development Through Romantic Tension (Or: How Love Makes People Better, Even When They're Fighting It)

Internal Conflict That Actually Matters (No Wimpy Obstacles Allowed)

Both characters need believable reasons for resisting the attraction. And no, "I'm scared of commitment" is not a personality trait - it's a therapy session waiting to happen.

Character A might resist because:

• They're literally there to commit murder (pretty solid reason, honestly)

• Past betrayal makes trust about as likely as finding a unicorn

• Fear of vulnerability after being hurt (emotional scar tissue is real)

Character B might resist because:

• They suspect their spouse is hiding something dangerous (spidey senses tingling)

• Professional ethics or responsibilities (some boundaries shouldn't be crossed)

• Family expectations that don't include enemy spouses (awkward family dinners ahead)

When Gabriel tells Sol "I will never trust you," and she responds by trying harder to seduce him, we see both characters fighting internal battles that feel authentic. It's like watching two people play emotional chess while pretending they're not even in the same game.

The resistance should feel true to who they are, not just convenient for your plot. If your obstacle could be solved by a ten-minute conversation and a hug, you need a bigger obstacle.

The Technical Details That Make or Break Slow Burn

Show Physical Responses (Make Us Feel the Heat)

Don't just tell us there's attraction - show it like you're directing a very steamy nature documentary:

• Racing heart during innocent conversations (the body doesn't lie)

• Heightened awareness of their scent or presence (human pheromones are real, people)

• Physical reactions to accidental touches (electricity isn't just for science class)

When Sol describes Gabriel's heat "searing through my surcoat" or notes "tingles spread through me," we feel her attraction in concrete terms. It's like having a fever, but the only cure is the person causing it.

Master the Loaded Conversation (Subtext is Your Best Friend)

Every interaction should carry subtext thicker than the tension in the room. When Gabriel tells Sol "You don't belong here," he's really saying "You're dangerous to my peace of mind, and I'm terrified of how much I want you to stay." When she responds "I want to belong," she's talking about more than tribal acceptance. She's talking about belonging in his arms, his life, his heart.

It's like having two conversations at once: the safe one happening out loud, and the dangerous one happening underneath.

Use Environmental Storytelling (Let the World Do Some Heavy Lifting)

The sweat lodge scene where Sol and Gabriel must purify themselves together is environmental storytelling. The heat, steam, and forced intimacy amplify their attraction while highlighting their cultural differences. It's like putting sexual tension in a pressure cooker and seeing what explodes first.

Your setting should be the third character in every romantic scene, either helping or hindering your couple's connection.

Common Slow Burn Mistakes That Kill Tension (Don't Be That Author)

The Misunderstanding That Won't Die

One conversation could solve everything, but characters refuse to have it for 200 pages. This frustrates readers instead of creating tension. Make sure your obstacles are real, not just communication failures that would make a relationship counselor weep.

The Passion Vacuum

Slow burn doesn't mean no passion. Your characters should be desperately attracted to each other; they just can't act on it. If there's no heat, there's no burn. You've just written a very long friendship with occasional longing looks.

Though, I do dislike instant lust. I prefer my characters to hate each so much in the beginning, that they don't even realize they're attracted.

The Endless Circling

If your characters are having the same internal debates in chapter fifteen that they had in chapter five, you've stalled out. Romantic development should progress, even slowly. It's a dance, not a hamster wheel.

The Sudden Personality Transplant

Your uptight, controlled character suddenly becomes impulsive and reckless around their love interest. Character growth is good. Character replacement will give your readers whiplash.

The Payoff: Making the Wait Worth It (The Literary Equivalent of a Standing Ovation)

When your characters finally get together, the payoff needs to justify every moment of delicious torture you've put readers through. It should feel like the emotional equivalent of finally scratching an itch that's been driving you crazy for weeks.

When Gabriel finally calls Sol by her name instead of "Kyanite," it acknowledges their entire journey. Every barrier he'd erected, every moment she'd tried to prove her individual worth.

It's a simple word that carries the weight of their entire relationship. That's the kind of payoff that makes readers ugly-cry happy tears.

Elements of a satisfying payoff:

• Callbacks to earlier moments of tension

• Resolution of the main obstacles

• Character growth reflected in the romantic development

• Emotional release that matches the tension buildup

• Physical intimacy that feels earned, not rushed

Your Slow Burn Cheat Sheet (For When You Need Quick Reminders)

✓ Establish obstacles that would make a dating app algorithm give up and suggest therapy ✓ Build emotional intimacy before physical attraction (hearts first, hormones second)

✓ Master the art of "almost" moments (romantic AND emotional)

✓ Create forced proximity that doesn't feel like a romance trope threw up on your story

✓ Show physical responses to attraction (make us feel the fever)

✓ Write dialogue loaded with subtext (two conversations for the price of one)

✓ Avoid misunderstandings as primary obstacles (we're not writing a soap opera)

✓ Remember: make readers want, not just wait (desire is the engine of slow burn)

The best slow burn feels inevitable in retrospect but surprising in the moment. Your readers should finish thinking "of course they ended up together" while remembering exactly how delicious the journey was. It's like looking back on the world's most beautiful torture session and asking for seconds.

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Slow burn isn't just about delayed gratification. It's about earning every emotion, every touch, every declaration of love. When you get it right, you don't just write a romance; you write an experience that haunts readers in the best possible way.

What's your favorite slow burn romance? Drop a comment and tell me what made you fall for the tension! And if you're writing slow burn, what's your biggest challenge in building that perfect romantic torture? (Besides not throwing your laptop out the window when your characters refuse to cooperate.)

How to Create Facebook Ads That Actually Sell Books (Without Spending Your Grocery Money)

Let me guess: you've been told that Facebook ads are the holy grail of book marketing, but every time you try to set one up, you either spend $200 to sell three books or create an ad that gets about as much engagement as a lecture on tax law.

I've been there. I've thrown money at Facebook like I was feeding a very expensive, very hungry digital monster that occasionally burped up a book sale. But after a year and a half of trial, error, and more error, I figured out the formula that actually works without requiring a marketing degree or your firstborn child as payment.

Getting Started: Your First Steps

Step 1: Access Facebook Ads Manager

Go to business.facebook.com and click on "Ads Manager" or go directly to facebook.com/adsmanager. This is where you'll create your campaigns, not through the "boost" button on your posts.

Important: Don't waste money on boosting posts. It's like buying a sports car but only being allowed to drive it in first gear. Always use Ads Manager for proper campaign control.

Step 2: Learn the Basics First

Before you start tweaking and testing, master the fundamentals I've outlined in this post. Understand how targeting works, what makes good ad copy, and how to read your metrics. Think of it as learning to walk before you try to run a marathon in stilettos.

Your Facebook Ad Success Recipe

1. Foundation: Have at least 3 books (preferably 5) before starting

2. Hook: Write copy that stops the scroll

3. Visual: Create images that match your book's world, not your cover

4. Targeting: Start with your country, define your age range carefully

5. Budget: Start with $15/day, test 3 different images with same copy

6. Campaign Type: Begin with traffic campaigns

7. Patience: Give it at least a week before making major changes

8. Testing: Try different approaches until you find your winner

9. Metrics: Watch CPC and CTR, refresh when costs rise

10. Tracking: Monitor Amazon rankings and consider Amazon Attribution

    
    

Why Each Step Actually Matters (AKA The Method to My Madness)

Foundation: The Three-Book Rule

Facebook ads work best when readers can binge your series after discovering book one. Having only one book is like offering someone a single potato chip. It's technically possible, but ultimately unsatisfying. Three books give you enough runway for readers to fall in love with your world and characters.

Hook: The Scroll-Stopper Strategy

Your opening line needs to grab people harder than a toddler grabs candy at checkout. If your hook doesn't make someone pause mid-scroll, you're just expensive wallpaper in their feed.

Visual: Movie Poster, Not Book Cover

Book covers work in bookstores where people are already shopping for books. Facebook users are there to see what their cousin ate for lunch and argue about politics. Your image needs to look like entertainment, not advertising.

Targeting: Know Your People

Casting a wide net sounds smart until you realize you're trying to sell vampire romance to people who prefer cookbooks. Narrow targeting helps you find your actual readers instead of everyone who accidentally clicked on your ad while trying to scroll past it.

Budget: The Goldilocks Principle

Too little budget and Facebook can't find your audience. Too much and you'll blow through money faster than a romance reader through a new series. $15 is the sweet spot where Facebook has enough data to work with but you won't accidentally fund their next quarterly bonus.

Campaign Type: Start Simple

Traffic campaigns are like training wheels for Facebook ads. They're designed to get people to your book page without the complexity of conversion tracking. Master this before attempting the advanced stuff.

Patience: The Waiting Game

Facebook's algorithm needs time to learn who your readers are. Running an ad for two days and giving up is like planting a seed on Monday and digging it up on Wednesday to see why it hasn't grown.

Testing: The Scientific Method

Change one thing at a time. Copy OR image OR audience. Otherwise, you'll never know what actually worked. It's like being a detective, but with better profit margins.

Metrics: Your Marketing Speedometer

CPC (Cost Per Click) and CTR (Click-Through Rate) tell you if your ad is working. When CPC climbs too high, it's time to refresh. When CTR is low, your hook isn't hooky enough.

Tracking: Know What's Working

Monitor your Amazon book rankings during campaigns. If they improve while ads are running, you're on the right track even if the direct attribution isn't perfect.

If you want to track which Facebook ads are actually driving Amazon sales, you can set up Amazon Attribution. It's like having a GPS for your marketing dollars:

1. Go to attribution.amazon.com

2. Sign in with your KDP account

3. Create a new campaign

4. Select your book

5. Generate an attribution link

6. Use this link in your Facebook ads instead of your regular Amazon link

This will show you which Facebook ads are driving Amazon sales, helping you optimize your campaigns more effectively.

(Please note that Amazon attribution isn't 100% accurate.)

I gave up on too many ads by just looking at that metric.

Stop Thinking Like an Author, Start Thinking Like a Scroll-Stopper

You're probably creating ads that sound like book descriptions. "Join Elara on her magical journey of self-discovery..."

Snore.

Facebook isn't a bookstore. It's a place where people go to procrastinate, watch cat videos, and judge their high school classmates' questionable life choices. Your ad needs to grab them by the metaphorical shoulders and make them forget they were supposed to be folding laundry.

The TikTok Hook Revolution

You know those TikTok videos that make you watch until the end even though you clicked on them by accident? That's the energy your Facebook ad copy needs. Start with a hook that would make someone stop mid-scroll:

Instead of: "A fantasy romance about forbidden love..."Try: "What happens when the woman you kidnap is exactly where she wants to be?"

Instead of: "An epic tale of magic and adventure..."Try: "He thinks he's her captor. She's actually hunting his father."

Instead of: "Enemies become lovers in this sweeping fantasy..."Try: "She married her enemy to destroy him. Plot twist: she's falling for him instead."

See the difference? The second versions make you want to know what happens next. They create questions that can only be answered by reading the book. It's like emotional clickbait, but in the way.

Visual Strategy: Ditch the Cover, Embrace the Vibe

Your gorgeous book cover probably isn't the choice for Facebook ads. I know, I know. You spent weeks perfecting it, your designer is amazing, and your mom said it's beautiful. But Facebook isn't a bookstore. Ir's a scroll-fest where people make split-second decisions based on whatever catches their eye between baby photos and political rants.

My top-performing image? A medieval couple looking like they're about to either kiss or kill each other, and a single fierce-looking woman in dramatic black and white. No covers in sight. Think movie poster vibes, not book catalog energy.

The Text Overlay Game-Changer

Here's where the magic happens: add text to your images that speaks directly to your genre's soul. Not your book title but actual reader language that makes people think, "finally, someone who gets it."

For Fantasy Romance:

• "I stayed up all night reading this fantasy romance book"

• "This fantasy romance destroyed me in the way"

• "When the fantasy romance hits different"

• "Fantasy romance that ruined my sleep schedule"

• "This fantasy romance broke me"

  
  

For Paranormal Romance:

• "Vampire romance that doesn't disappoint"

• "This paranormal romance consumed my weekend"

• "Paranormal romance done right"

• "When the paranormal romance is everything"

• "This paranormal romance owns my soul"

  
  

Do you see what I did there? Every single one of those options shares the book genre.

You're not being sneaky about what you're selling. You're being crystal clear about exactly what kind of book hangover you're about to give them.

Make it sound like a reader recommendation, not a marketing pitch. Nobody wants to feel like they're being sold to, but everyone wants to feel like they're getting insider information from their book-obsessed friend.

For me personally, I use book review quotes that mention my genre in my ads.

The Secret Weapons in Your Description

In the description underneath your main ad copy, certain phrases consistently perform well.

The KU Magic Phrase: "Read For Free With Kindle Unlimited" or "Free With Kindle Unlimited"

This consistently works because it removes the biggest barrier to trying a new author: cost. Even people who don't have KU will often buy the book anyway once they're interested enough to click.

For Trope Lovers:

• "True Enemies to Lovers"

• "Morally Gray Hero Alert"

• "Slow Burn Romance"

• "Found Family Vibes"

For Genre Fans:

• "Fantasy Romance Done Right"

• "Dark Academia Energy"

• "Vampire Romance That Doesn't Disappoint"

• "Witchy Vibes Only"

For Emotional Impact:

• "Will Make You Ugly Cry"

• "Prepare for Book Hangover"

• "One-Click Warning: Addictive"

• "Your Next Obsession"

For Series Hooks:

• "Book 1 of an Addictive Series"

• "Cliffhanger Alert"

• "Binge-Worthy Fantasy"

Choose the ones that match your book's actual content. False advertising will kill your reviews faster than you can say "one-star rating."

The Magic Words That Make Facebook Listen

The Call to Action Setup

When you're setting up your ad, you'll see a call to action dropdown. Select "Shop." This tells Facebook's algorithm that this is a selling post, and it will show your ad to people more likely to make purchases. It's like wearing a "BUYER" name tag at a car dealership. Everyone knows what you're there for.

Technical Settings That Actually Matter

Start with Traffic Ads

Begin with traffic campaigns, not conversion campaigns. Traffic ads are designed to send people to your website (or Amazon page), and they're perfect for authors just starting out with Facebook ads. Think of conversion campaigns as the advanced yoga class. You want to master regular yoga first.

Share to Your Feed Only

When creating your ad, you'll see a bunch of placement options: Instagram, Stories, Messenger, Audience Network. Turn them all off. Just share to Facebook's main feed. That's it. Keep it simple until you know what resonates with your audience. It's like learning to juggle with one ball before attempting flaming torches.

Impressions Over Everything

Set your campaign to optimize for impressions, not clicks or conversions. This sounds backwards, but here's why it works: Facebook will show your ad to more people at a lower cost. Some of those people will remember your book later and buy it through organic search. It's like planting seeds instead of demanding immediate flowers.

Turn Off Facebook's "Helpful" AI (And Keep It Off)

Facebook wants to optimize everything for you automatically. Turn off and keep off:

• Automatic placements

• Campaign budget optimization

• Advantage+ audience

• Any AI suggestions that pop up

Critical: Don't Let Facebook Change Anything Facebook will try to "optimize" your images, your text, everything. Don't let them.

You'll need to dig into the enhance options at the bottom of your ad setup and manually click off other "helpful" features. Once all of those are off, text optimization will be disabled. (Trust me, you don't want it.)

Also turn off info labels that Facebook wants to add to your ads. It's like having a helpful friend who keeps rearranging your closet while you're at work - well-meaning but ultimately counterproductive.

You know your book and your readers better than an algorithm.

The Critical Details Everyone Forgets

Make Sure Your Hook Isn't Cut Off

Facebook truncates ad copy, so your compelling opening line might get chopped. Keep your hook in the first 125 characters, or people will have to click "See More" to read it (spoiler: they won't). It's like telling a joke but cutting off the punchline.

Image Quality is Everything

Use clear, crisp images that look good on mobile. Blurry or out-of-focus photos scream "amateur" and will kill your engagement faster than a love triangle plot twist kills reader enthusiasm.

Test Your Compelling Hook

Your opening line should make someone stop scrolling. If it doesn't grab attention in three seconds, it's not working hard enough. Your hook should be the literary equivalent of someone yelling "Free chocolate!" in a crowded room.

Facebook Ads Metrics Decoded (Because Knowledge is Power)

Let me break down the numbers that actually matter, because Facebook throws a lot of data at you and most of it is just digital noise:

CPC (Cost Per Click)

This is how much you pay each time someone clicks your ad. The acceptable CPC varies widely based on your book's price, profit margins, and genre. Monitor this number and adjust when it climbs beyond your comfort zone. Think of it as your marketing speedometer. You want to know when you're going too fast for your budget.

CTR (Click-Through Rate)

This shows what percentage of people who see your ad actually click on it. For book ads, anything above 1% is decent, above 2% is good, and above 3% means you've hit the jackpot. Low CTR usually means your image or hook isn't compelling enough. It's like measuring how many people actually stop to look at your street performance versus just walking by.

Impressions

How many people saw your ad. This number should grow steadily if Facebook is finding your audience effectively.

Reach

How many unique people saw your ad. Different from impressions because one person might see your ad multiple times (like that one song that gets stuck in your head).

The magic happens when you have high CTR with reasonable CPC. That's when you know you've found the sweet spot between compelling content and cost-effective targeting.

Check Your Amazon Book Ranking

Monitor your Amazon book ranking during your ad campaigns. If your ranking improves while your ads are running, that's a good sign your ads are driving sales even if the attribution isn't perfect. It's like checking your pulse to make sure your heart is still beating.

Setting Up Retargeting (For When You're Ready to Level Up)

Once you've been running ads for a few weeks, set up retargeting campaigns. These are for people who already showed interest but didn't buy. Think of them as the "ones that got away":

1. Go to Facebook Ads Manager

2. Click "Audiences" in the left menu

3. Click "Create Audience" and select "Custom Audience"

4. Choose "Website Traffic"

5. Select "People who visited specific web pages"

6. Enter your Amazon book page URL

7. Set the retention period (30 days is usually good)

8. Create a new campaign targeting this custom audience

Retargeting campaigns often perform better than cold traffic because these people have already shown interest in your book. It's like following up with someone who asked for your number but then mysteriously disappeared.

Measuring Success (It's Not What You Think)

Don't just look at immediate sales. Track:

• Website traffic increases

• Email list growth

• Organic book searches for your title

• Overall series sales (not just the advertised book)

• Amazon book ranking improvements

Facebook ads often work like a slow-burn romance. The payoff comes later, but when it hits, it's worth the wait.

Some readers bookmark your book, tell their friends, join your newsletter, and buy three months later.

You can't always trace that back to your original ad, but it's still working.

The Real Talk: It's Going to Take Time

I spent months and considerable money learning what I just taught you in this blog post. Expect a learning curve. Expect some money to go toward education rather than immediate profit.

Expect to feel confused by Facebook's interface because, honestly, it's not exactly user-friendly. But think of it as tuition for your marketing education.

But here's the thing: once you crack the code for your specific book and audience, Facebook ads can be the difference between selling dozens of books and selling hundreds.

The Real Truth About This Strategy

Here's something important: this is what works for me. It doesn't work for everyone. I've tweaked and adjusted these strategies over my year and a half of running Facebook ads to find what gets results for my books and my audience.

Your genre might respond differently. Your readers might prefer different hooks. Your imagery might need a completely different approach. Don't be afraid to pivot if you need to pivot, but at least learn the basics first so you're making informed decisions rather than throwing money at Facebook and hoping something sticks.

The goal isn't to create the perfect ad on your first try. The goal is to create an ad that's good enough to test, then iterate until you have something great.

Because at the end of the day, the Facebook ad strategy is the one that actually gets your book into the hands of readers who will fall in love with your characters as much as you have.

And trust me. Once you find those readers, they'll be worth every penny you spent figuring out how to reach them. They'll also probably demand you write faster, but that's a different problem entirely.

My Actual Campaign Strategy (Because It Works)

I always begin my campaigns at $15 per day. Not $5, not $10 but $15. Facebook needs enough budget to actually test your ads effectively. Think of it as the minimum viable budget for Facebook to take you seriously.

I start with three ads: usually three different images with the exact same ad copy. Why? Because when you find ad copy that works, you milk it for everything it's worth. That TikTok-style hook that makes people stop scrolling? Use it on every image variation until it stops performing. Don't fix what isn't broken, as my grandmother used to say (usually while refusing to upgrade from her flip phone).

Many people have found different ad copy approaches that work for them. For some, book blurbs work, or a shortened version. For me, it never did, but it could work for you.

Test what resonates with your specific audience. Your readers might be completely different from mine. They might love detailed descriptions while mine prefer mysterious hooks.

I keep the same ads running until the CPC (Cost Per Click) rises. When Facebook starts charging me more for the same clicks, that's my signal to refresh or pivot.

Your Facebook Ads Cheat Sheet (For When Your Brain is Fried)

• Have at least 3 books before starting (preferably 5)

• Always advertise book 1 in the series, even if you've written 47

• Go to business.facebook.com (not the boost button, resist temptation)

• Create traffic campaigns, not conversion campaigns

• Set budget to $15/day minimum

• Target your country first

• Choose "Shop" as your call to action

• Turn off ALL Facebook AI optimization features

• Share to Facebook feed only (ignore other placements)

• Use movie poster vibes, not book covers

• Add genre text overlay to images

• Keep hook under 125 characters or Facebook chops it

• Test 3 different images with same ad copy

• Watch CPC and CTR like a hawk

• Change ads when CPC gets too expensive for comfort

• Give ads 1 week minimum before panicking

• Check Amazon rankings during campaigns

• Set up retargeting after few weeks

• Don't change everything at once (scientific method, people)

• Test what works for YOUR audience, not mine

• Expect learning curve and some tuition money lost

• Remember: I spent a lot of money and time learning this so you don't have to

Have you tried Facebook ads for your books? Drop a comment and let me know what worked (or what spectacularly didn't work) for you! And if you're still figuring it out, what's your biggest Facebook ads question?