Why good book keywords make the difference between success and invisibility

Writing a good book is hard enough. But even the best manuscript is of little use if it can't be found by the right readers. This is exactly where an often underestimated but crucial topic begins for many authors: keywords, categories & visibility. Especially in self-publishing, they are not a „bonus“, but a central tool for visibility. Nevertheless, they are often chosen based on gut feeling, copied from lists or pushed to the very end of the publishing process. The result: books end up in the wrong categories, compete with unsuitable titles or disappear into the masses. This article explains why keywords and categories are so important, what mistakes are often made - and how structured tools can help you to approach this part of the publishing process strategically.

Keywords are not just buzzwords. They are the link between reader searches and your book. When someone searches for certain terms on Amazon, Thalia or other platforms, keywords determine whether your title is displayed at all.

Keywords fulfil several tasks at the same time:

• They categorise your book thematically
• They help algorithms to show your book to suitable target groups
• They influence which books you are compared with
• They indirectly determine your visibility in rankings and recommendation bars

In short: keywords are not for authors - they are for search engines and readers.

Categories are similarly underestimated. Many authors simply choose the most obvious genre and leave it at that. But categories are a powerful control tool.

A clever choice of category can:

• make your book visible faster
• Reduce competitive pressure
• Address more targeted readers
• Enable test runs for different target groups

For example, a novel can be romantic, dark, exciting or futuristic at the same time. The question is not what all applies, but where your book currently has the best chances.

Many problems do not arise from ignorance, but from uncertainty. The most common mistakes include

• very general keywords such as „novel“, „love“ or „suspense“
• purely emotional terms without search volume
• Categories that fit thematically, but are extremely overcrowded
• Lack of coordination between content, description and keywords
• No tests or adjustments after publication

This is where many books lose potential, even though they are well written.

Of course, authors know their own stories best. But readers search differently than authors think. While writers often think in terms of motifs, characters and moods, readers look for clear patterns:

• Genre + Sound
• Known tropes
• Known combinations
• Clear expectations

There is a gap between these two perspectives. It is precisely this gap that keyword work must close.

Instead of randomly compiling keywords, it is worth taking a structured look at:

• Genre categorisation
• Subgenres and niches
• Tropes and themes
• Search intention
• Competitive density

Modern tools can help to bring these factors together and make them visible. Not to make decisions easier - but to make them more informed.

A good keyword strategy doesn't just consist of seven terms in the backend. It comprises several levels:

• Main keywords for genre & tone
• Supporting terms for themes & motifs
• Long-tail keywords for specific search queries
• Keywords for description, subtitles and advertising texts

Only the interplay of these levels ensures that a book is not only found, but also reaches the right readers.

Visibility is no coincidence Many authors experience that their books suddenly perform better after they have adjusted categories or keywords. This is not due to magic, but to better categorisation. Algorithms don't react to quality - they react to signals. And keywords are one of the strongest signals you can consciously influence.

This is precisely where the Keyword and category function from Scribigo. Instead of spitting out isolated terms, Scribigo:

• Genre combinations
• Thematic focal points
• Target group signals
• Platform-specific requirements

The result is not a simple list, but a strategic categorisation that combines both keywords and categories in a meaningful way. It is particularly helpful that Scribigo not only shows obvious paths, but also makes alternative categories and long-tail approaches visible - in other words, it starts where many books are overlooked. Keyword work is not a necessary evil. Used correctly, it can even help you to see your own book more clearly. It forces you to answer questions such as:

What is it really about? Who is this book for? What expectations does it raise?

This makes keyword work a part of sharpening content - not just a marketing step.

Keywords and categories are no guarantee of success. But without them, even a strong book often remains invisible. Those who are prepared to consciously tackle this part of publishing will give themselves a real advantage - especially in a market that is growing every day.

Tools such as Scribigo help to organise this process in a structured, comprehensible way and without guesswork. Not to replace creativity, but to give it the space it deserves: to be seen.