Every author wants their book to succeed. However, some authors focus so much on writing that they overlook the importance of revenue.
To be clear: the goal of writing isn’t to “get rich.” There are noble reasons to publish—helping people, shaping culture, carrying a message that matters, or simply entertaining readers who need a break from the world.
But there’s one uncomfortable reality that separates a short-lived writing hobby from a durable writing career: if your books don’t become financially self-sustaining, your ability to keep writing eventually gets squeezed. I’ve met plenty of talented authors who wrote genuinely good books and still had to quit—not because they lacked passion, but because the economics never worked.
That’s why I like to borrow a metaphor from Robert Kiyosaki’s popular book, Rich Dad, Poor Dad. I’m using “poor” loosely. This is not about your bank account or your worth. It’s about your operating system—how you think about the business side of authorship.
After years of advising authors across numerous genres, I’ve noticed three consistent differences between authors who create meaningful income and momentum (“rich” authors) and those who remain stuck, exhausted, and underpaid (“poor” authors).
If you recognize yourself in the “poor” patterns below, don’t be discouraged. This isn’t a personality trait—it’s a set of decisions. And decisions can change.
Difference #1: Poor Authors Think They Need a Good Book. Rich Authors Know They Need a Good Marketing Plan.
Poor authors often believe this: “If I write a good book, it will sell itself.” It’s a comforting idea—especially because it places success entirely inside the writing process.
The problem is that the marketplace doesn’t reward “good” in isolation. It rewards clarity, relevance, and visibility. You can write a good book and still lose to a book that’s merely decent—because the decent book is positioned well, reaches the right people, and gives buyers a simple reason to choose it.
Strategic aside: Most authors don’t fail because they can’t market. They fail because they never define what “marketing” is actually supposed to accomplish. They treat marketing as an add-on activity—something you do after the book is finished—rather than a plan that shapes how the book is presented, packaged, and introduced to readers.
Another “poor author” trap is outsourcing responsibility. Some authors assume their publisher will handle marketing, or they assume a few social posts and a couple of interviews should be enough. The truth is that most publishers reserve meaningful budgets for a small fraction of their list, usually established names. Even when publishers do support a title, they still prefer authors who show up with a clear readership, a differentiated message, and an ability to generate attention.
Rich authors don’t view marketing as something beneath them or separate from the craft. They view it as part of leadership. They make marketing decisions early. They clarify the target reader. They differentiate their book from alternatives. They choose a strategy that fits their genre, goals, and strengths—and then they execute it consistently.
A quick self-check:
• Can you describe your ideal reader in one sentence—without using “everyone” or “anyone who…”?
• Do you have a marketing plan (a sequence of actions tied to outcomes), or do you have a list of promotional ideas?
• If your publisher did nothing beyond printing and distributing the book, would you still have a strategy for generating demand?
Difference #2: Poor Authors Rely on Tiny Royalties. Rich Authors Build Lucrative Spin-Off Products.
Many authors try to pay their bills with the thinnest revenue stream in the entire ecosystem: royalties. They pin their hopes on advances, then wait for royalty checks that often amount to a dollar or two per book sold.
That approach creates a cruel treadmill: write more books, faster—because each book must carry the full weight of your income. Some authors even assume the best way to sell a book is to hurry and publish another one. Sometimes that helps. But often it’s a form of avoidance—because it’s easier to create something new than to build leverage around what already exists.
Truth-teller moment: If your business model requires you to sell huge volume at tiny margins, you’re going to feel pressured, anxious, and perpetually behind—even if your book is “doing well” by normal standards.
Rich authors understand a different model: a book is rarely the final product. It’s a doorway. A book can be the most powerful business card you’ll ever create—because it establishes credibility, attracts the right people, and clarifies your message. But the book itself is typically not where the best margins live.
That’s why rich authors focus on spin-off products—formats and experiences that extend the value of the book into higher-impact, higher-margin offerings. I’ve personally taken content from a $10 book and turned it into a $400 product. That difference is not magic. It’s packaging.
Examples of spin-off thinking:
Spin-off products look different depending on genre:
Nonfiction: speaking, workshops, coaching, consulting, webinars, online courses, corporate training, facilitated cohorts.
Fiction: audiobooks, serialized shorts, boxed sets, special editions, translations, film/TV options, sequels/prequels, premium fan experiences.
Notice what’s happening here: the author isn’t “selling more.” The author is creating more ways for people to engage, learn, or participate. Readers and audiences like to consume content in different formats. When you limit your message to one format, you limit both income and influence.
Strategic aside: Spin-offs aren’t only about money. They’re often the fastest way to deepen loyalty. A reader who buys one book may forget you. A reader who joins an experience you control often becomes a long-term supporter.
Difference #3: Poor Authors Depend on Publicity. Rich Authors Build Exposure They Control.
Poor authors depend heavily on publicity—someone else featuring them. They dream of a big interview, a national TV segment, a viral mention, or a prestigious review that changes everything.
Publicity can help. But it’s unpredictable. It’s hard to secure. It’s slow. And it often pushes authors into a posture of waiting—as if success must be granted by gatekeepers.
Here’s why that’s dangerous: relying on publicity erodes your control. It also creates an expensive “pay to play” mindset, where authors compete with celebrities, big brands, and massive budgets for limited attention. You can’t force your way into someone else’s spotlight.
Truth-teller moment: If your strategy depends on a breakthrough you cannot control, you will spend your career feeling powerless.
Rich authors may still pursue publicity, but they do not depend on it. They build exposure channels they can influence and repeat. They invest in targeted visibility, develop relationships with relevant influencers, and build owned audiences—especially email lists—so they’re not starting from zero every time a new book releases.
They also leverage platforms where the audience already exists. For example, paid promotion and partnerships can put a book in front of the right readers without waiting for permission. Podcasts, webinars, and collaborations are often more accessible than traditional media—and they can be repeated.
A quick self-check:
• If media never calls you back, do you still have a path to consistent reader exposure?
• Do you have at least one audience channel you own (especially email), or do you rent attention day-by-day?
• Can you create a repeatable “exposure machine,” or are you hoping for a lucky break?
Where Do You Stand?
These three differences point to one central theme: becoming a “rich author” is more about mindset than money. It’s about choosing to lead your career instead of waiting for someone else to validate it.
Poor-house thinking sounds like: “If my writing is good enough, everything else will work out.”
Rich-author thinking sounds like: “If my message matters, I’m going to build the strategy that helps it spread.”
Don’t let your books sit in the poor house. Think like a rich author and take control of your writing career.
Final Nudge
If you’re reading this and thinking, “I get it—but I’m not sure which lever I should pull first,” that’s normal. Most authors don’t need more random marketing tactics. They need a clear diagnosis and a plan that fits their goals, genre, and reality.
That’s exactly what my Strategic Bestseller Advisory is designed to do. We identify the few critical decisions that will create the biggest lift—your marketing plan, your revenue model, and the exposure channels you can control—so you stop wasting energy on the wrong moves.
And if you want a structured system you can apply repeatedly—book after book—the Book Marketing Master Class is where I teach the frameworks, language, and strategic sequencing that turns marketing from guesswork into something you can execute with confidence.
You don’t have to choose between writing well and selling well. The authors who build enduring careers do both—and they treat marketing as an extension of their message, not a compromise of it.