Angie beats Oprah?

If Angelina Jolie is now a more powerful media personality than Oprah Winfrey, perhaps we should all shift our book promotion strategy. Perhaps now it's time to get Angelina Jolie -- and not Oprah Winfrey -- to feature our books in her internationally-respected book club and on her top-rated TV talk show, and maybe it's time to let Angie put her famed book club's imprint on our books and hope that she finds us worthy of granting us an opportunity to promote our books in front of our target audience.

Perhaps Oprah Winfrey is old news for authors and publishers who want to turn their books into instant bestsellers . Perhaps Angelina Jolie's support is what authors and publishers should now be seeking for their books.

Or...maybe not.

And please don't let the fact that I'm not an Angelina Jolie fan influence your opinion about how to proceed now that the stunning news about how Angelina's popularity has overtaken Oprah Winfrey's has hit the news. Seriously. It's all about grabbing Angie's attention now. Send your books to...well...just send your books to wherever in the world Angelina Jolie happens to be shopping for potential additions to her family these days. And good luck with that.

And then there are those who want no book promotion at all.

Most of us eagerly grab all the book promotion opportunities we can get. And then there are those who want no book promotion at all.

Check out this Associated Press (via the Guardian) article about J.D. Salinger's latest lawsuit.

Salinger is currently trying to block an author from publishing a sequel to Catcher in the Rye. It looks as though John David California (which is the writer's pen name, anyway) will not be able to share 60 Years Later: Coming Through the Rye with the Holden Caulfield-loving universe.

My hunch is that, while John David California is probably feeling a bit intimidated by the lawsuit, he's undoubtedly tickled by the attention Salinger is paying to his work. What better book promotion opportunity could their be than an attempt by a literary legend to legally prevent you from publishing your work?

Ah, Salinger. Must be nice to know that your book has reached the status of "classic" and that there's nothing further that you have to do -- your book will live just as long as people have books, ebook readers, or chips that can read text surgically implanted into their brains -- or whatever the next big book delivery system turns out to be.

Salinger. Salinger. How must it feel to turn down Steven Spielberg and Harvey Weinstein's offer to turn your book into a film? Mere mortals can only speculate.

Sometimes, authors who don't need or want book promotion opportunities leave me speechless. And humbled.

Go, Google, go!

Go, Google, go! Work out deals with publishers to sell digital versions of their books, and make them compatible with as many devices as possible. We knew Amazon (or Sony, for that matter) wouldn't have the exclusive right to sell ebooks. The more companies that jump into this space, the better, from the consumer's perspective -- and I'm a consumer as much as a book publicist.

I'm lusting after an electronic device that will let me read as many digital books and periodicals as I want, as comfortably as I'd like. Yes, I know: the old-fashioned technology (the book, the magazine, and the newspaper) still works, and those tried-and-true gadgets never ran out of batteries or experienced crashes. But, then again, who has all the shelf space she wants to hold every coveted book and periodical? Who has the budget to purchase them all at retails (or even at Amazon) prices? Who feels like carrying them in briefcases or suitcases -- or even in a beach bag (sorry, but suntan lotion, my wallet, and my keys still have to come first).

So I'd very much like to add an ebook reader to my array of choices, but I've been reluctant to do so before "the dust settles." And, when the dust settles, I know it will settle because all of Amazon (and Sony's) competitors will have trotted out their offerings, and will either blow away the current devices or educated consumers about how it should have been done all along.

What all of this has to do with book promotion is anybody's guess. Someday, I imagine book publicist's will be emailing digital copies of books, rather than hard copies, to the media. But which format? For which devices? And when will this all come to pass?

I don't know, but I think Google's entry into the fray has brought the ebook revolution another step closer.

Summer reading advice from Stephen King

I'm an unabashed Stephen King fan. Nearly all of his books are "keepers," as far as I'm concerned, and I have kept almost all of his books from Carrie to
Just After Sunset: Stories. So I'll take reading advice from him. At least, I want to hear what he has to say.

So I checked out his latest EW.com column, "Stephen King: 7 Great Books for Summer." I clicked on that article gleefully, in part to see what King's recommendations were, and in part to see which lucky ("anyone I know?") novelists had earned the book promotion opportunity of a lifetime (well, okay, one of the book promotion opportunities of a lifetime -- I certainly didn't mean to slight you or your book club, Oprah).

Imagine my surprise when I found that one of the authors to receive a book promotion opportunity via this Stephen King was none other than ... Charles Dickens. Seriously. Little Dorritt is one of King's "7 Great Books for Summer [of 2009]" picks.

It's been awhile since I've read Little Dorritt, and maybe there's something about it that I'm not remembering, but ... well, it's Little Dorritt. It originally was published between 1855 and 1857, and it was written by Charles Dickens who, by the way, is beyond benefitting from the book promotion opportunity of a lifetime.

Whereas (if you're following my train of thought) many -- maybe a gazillion or so -- hardworking novelists who are currently living and hoping and praying for a book promotion break of a lifetime could actually savor Stephen King's praise and bring any resultant book royalty checks to the bank.

There's nothing wrong with giving a nod to a classic novel, and I'm glad Stephen King recognized the work of one of my favorite novelists. But ... Stephen? Next time you're called upon to recommend seven novels to the book-buying public, would you please consider giving a helping hand to seven deserving novelists who could really use the boost? I wouldn't presume to tell you which new novels I'd like to see you recommend next time out ... although, as a book publicist, I do have some great suggestions. And my clients would owe you for it ... forever!

Could a Skype-driven book tour work for your book promotion campaign?

Could a Skype-driven book tour work for you? Maybe, at some point in the not-so-distant future, it could.

If you're currently setting up signings, speaking engagements, and other events at bookstores as part of your book promotion campaign, then you might want to check out Publishers Weekly's article, "Visiting Bookstores Virtually." The article describes an experiment that Random House is trying with two of its children's book authors: Jerry Spinelli and Libba Bray.

Random House arranged for its authors to participate in Skype phone calls to bookstores, and the selected bookstores arranged for children to be part of the calls. The lucky kids had a chance to visit with the authors, virtually, as pets and other family members wandered into their home offices. And the authors didn't have to pack their suitcases and travel from one city to another to meet their fans.

The bookstores took a risk, because this is the first time they've used Skype in place of having an author actually appear, in person, to talk with an audience. Who knew, ahead of time, whether the technology would work, or -- even if it did -- whether it could keep an audience of young people entertained? And, for authors, it took a leap of faith to look squarely at a Web cam and trust that, somehow, they were connecting with their fans.

But, according to the PW article, it worked. Then again, as the article points out, both of these authors have a huge fan base. They were also playing to an audience that's excited by Web cams and Skype -- rather than a group of adults who could very well be turned off, or intimidated, by it.

So will you be participating in a Skype-driven book signing in the next week or two? No, probably not. But a year or so down the road . . . who knows? Things change so quickly in the world of book promotion that, some day soon, it might make perfect sense to trade in your plans for a traditional bookstore tour for a virtual one. You might find, as these pioneering authors did, that a Skype book tour provides even more opportunities than a standard book tour to foster intimacy and connections with your readers . . . and you might find yourself trading in traditional book tours for Skype-driven book tours for good.

Google steps into book promotion arena?

Hey! I didn't realize that yesterday's Google homepage doodle was about book promotion! I thought it was about a scientific discovery!

Yesterday, Google's homepage featured one of those intriguing doodles that I had to click on before I could start my day. What was that weird drawing, anyway?

It turned out to be a fossil or, more specifically, the "missing link" -- which, happily for Colin Tudge and Josh Young, coauthors of The Link: Uncovering Our Earliest Ancestor (published by Little Brown and Company) -- was the subject of their new book. The book's publication date, by the way, was(May 20, 2009, which was the date that Google featured that promotional doodle on its homepage.

We all know that prominent search engine placement is a critical aspect of book promotion. If your book's web site is prominently featured in Google, then potential book buyers will go right to it when you've been interviewed on radio or television, or you've been featured in a magazine, newspaper, or online article. Driving traffic to your book's web site is a first step on the path toward selling potential readers on your credibility, expertise, entertainment/news value, and so on . . . so I've always said that SEO (search engine optimization, which for books' web sites involve writing articles and op-eds, social bookmarking, posting press releases in online "banks," and the like) is a key to book promotion (and book marketing, by the way) success.

But I never imagined that Google itself would overtly take a hand in an author's (or a publisher's) book promotion campaign! How cool would it be to have Google link to your book, via its daily doodle? How many thousands of people would click on that doodle to find out about your book, and perhaps to visit your book's web site?

Now if only Google would make its daily doodle available to advertisers. And if only the cost were less cost-prohibitive than, say, inventing a new species or a new planet where life forms could live . . . and if only ordinary authors and publishers could afford to give it a try.

Book promotion geared toward libraries.

Most of the book promotion that I do is geared toward conventional and online bookstores. Some few books that I promote can be bought only at authors' web sites (it's very rare that books I'm hired to promote are not available via Amazon.com, but it still occasionally happens).

So I ask questions about distribution before I agree on a book promotion campaign because I know a bit about distribution to bookstores and via web sites. But I know little about book promotion that's geared toward libraries -- or, specifically, toward librarians. How do librarians choose their acquisitions? Which trade publications (aside from the obvious ones that contain the word "library") do they read? How else do books get on librarians' radar screen?

I was, therefore, delighted to find an article online by Sherry Thomas, a Bantam historical romance novelist, called "How Do Romances Get on the Shelves–Library Shelves."

Although the article addresses the question of how librarians choose which romance novels to acquire, it also sheds light on the process of libraries' acquisitions, in general. It seems as though the goal is to bring your book to the attention of librarians. If you can accomplish that, then there's no guarantee the librarians will buy your book -- but, at least, your book will be up for consideration.

My thanks go out to Sherry Thomas for shedding light on how the mysterious process of libraries' acquisitions work -- and, too, for offering hope that library patrons can sometimes be persuaded to buy their favorite books once they've test-driven them (so to speak). I've read that libraries are busier than ever these days with so many people opting to borrow books instead of buying them. It's reassuring to think that not all those book borrowers are committed to short-term relationiships with their favorite books. There's still room for selling a borrower on a book if the book is good enough -- and making the book good enough is the job that most authors do best (at least, they always tell me that "writing is the easy part". So that article made my morning!

So...Scribd has opened an online store.

Good for Scribd. Far more interesting to this book publicist, though, was the fact that I read about Scribd's new ecommerce venture in no fewer than three major media outlets today: Publishers Weekly , the Washington Post, and the New York Times.

Jeez. I care only marginally about the fact that Scribd will now charge readers for digital content (books, magazines, newspapers, research reports, etc.), and 80% of the proceeds will go directly to the contents' publishers. (Scribd's service will only be as impressive as its content, and I haven't had a chance yet to check out the site -- I'll reserve judgment until I have).

But I am blown away by the amount, and the quality, of media exposure that Scribd's new ecommerce venture has received. Imagine if, in the midst of your book promotion campaign, your work was featured in PW, the Post, and the NY Times on the same day? My goodness! That would be an accomplishment, for certain!

Media kit creation is a team sport.

Effective media kits are something that you must help to create. And you can do it, even if you've never written a media kit or even seen one. A book publicist will take the lead, but you should take an active part in the media kit creation process -- whether or not your book publicist explicitly invites your participation. That will ensure that you'll be satisfied with the results, and you'll have the winning media kit that you can stand behind.

A media release focuses on a particular angle rather than on your entire book. Only you know for certain what you'd like that focus to be. Your book publicist will have an idea or two about the main thrust of the media kit -- he or she typically has read your book and spoken with you, and knows what's likely to get the attention of the media and book buyers -- but your vision (and your goals about how you want the media to perceive you) is what matters most.

The media kit represents your book and you, and it helps to shape your image and build your brand. Your reputation is at stake every time someone reads it, and that ultimately makes it your responsibility.

Your book publicist may have a great track record in the publicity business, but he or she is unlikely to create the perfect media kit for you without your thoughtful input. Your book publicist can get the ball rolling by creating a competent first media kit draft, but your participation should kick in even before your book publicist begins to conceptualize the release. Here are a few of the key contributions you can offer:

∙ Media hooks. Your publicist tunes into the media's news sources and knows what's going on in the world. But you know which current events are most likely to resonate with you, and which news stories you feel the most passionate about. If there's something going on in the news (or there's an event that's about to take place) that you'd like to emphasize in your book promotion campaign, then let your book publicist know. Your book publicist can incorporate that news hook into your media kit, and you can offer quotations (which can take the form of comments on the news story) that will work well for the release, too.

∙ Language and concepts. Are there key phrases and ideas that come up frequently in your line of work or your area of expertise? Don't make your book publicist figure them out -- provide a list of the words and ideas that should make their way into the media kit.

∙ Questions. Book publicists often include suggested interview questions in media kits for the journalists' benefit. You know what you'd like Jay Leno to ask you if you're sitting on his couch .... your publicist can only guess what those questions might be. Imagine that Jay (or your favorite talk show host) is asking the questions most likely to elicit the information you want to provide, and deliver those questions to your book publicist. Good questions, your book publicist can create. The questions you want the media to ask you, your book publicist can only guess at -- unless you make them clear.

∙ Story ideas. Your book is filled with possibilities for media stories. Although your publicist can guess which stories you want the media to pursue, you should establish (or, at least, strongly suggest) the direction and let your publicist know which avenues are the most attractive to you. Your book publicist can easily and smoothly work them into the media kit.

As a publicist, I read every client's book before I begin to work on the media kit. I think about how the book's content might tie into current events or news happenings as I'm reading. I highlight paragraphs, flag pages, and note specific passages. I do my homework before I start to create the media kit. And, because I have a sense of what's likely to work as part of a media kit, I'm glad to put together a media kit draft that serves as a launching pad for the final product.

Once I've sent my clients the first media kit draft, I expect them to read it with an open mind. The draft isn't going anywhere ... it's only a starting point.

It's the client's responsibility to actively get involved in the media kit's creation so that the second draft will be better than the first. No media materials are leaving my desk until I have my client's approval, and I hope I won't have that approval until my client loves what we have created together.

I ask my clients to get back to me with their suggested edits (most of my clients use MS Word's "track changes" mode to accomplish this) that reflect their vision, ideas, branding, expertise, and media goals. I incorporate those editorial suggestions into the next draft of the media kit, add my own edits, send it back to the client ... and so the revision process goes.

The media-kit-in-progress makes its way, via email, between the book publicist and the client for as long as it takes -- usually, about two days -- until we've created a tightly woven, exciting media kit that delights both the book publicist and the client.

Yes, a book publicist potentially could create a decent media kit alone. But that shouldn't be good enough. And that doesn't reflect the way that I prefer to work, nor does it reflect the way you'd want me to work. I want the author or publisher to participate in the media kit creation process so that everyone involved will be thrilled with the results.

Media kit creation is a subjective process. How can a book publicist know what an author or a publisher is hoping for unless the client offers specific ideas and suggestions for creating the ideal media package?

In short, an author/publisher who is willing to participate in the creation of a media kit will surely be happy with the results and will be more than repaid for his or her investment of time and energy. Those who do not will likely be disappointed with the results, no matter how competent and creative the book promotion specialist who is involved.

So provide your book publicist with your ideas before, and during, the book promotion process. You'll love the results, and your book promotion campaign's success will reflect your efforts.

You know how you’d like the media to see you, and your book publicist knows how to make it happen. Your knowledge and your publicist’s book promotion experience: that's the winning combination.

Singing for book promotion opportunities?

Can singing karaoke style provide you turn into a viral marketing opportunity? Yes, it can. Check out a video that Lara Zielin posted on YouTube.

Can Lara sing? Well, I'll let you decide that for yourself (Susan Boyle isn't worried about the potential competition, though, is what I'm thinking). But does Lara know a book promotion opportunity when she dreams one up? Oh, yes, she does.

Lara's video was inspired an editing letter she'd received while her debut novel, Donut Days, was in production. She turned her angst at having to rip up her manuscript into a playfully angst-filled musical response as she runs away from the letter.

She then cleverly posted the video on YouTube (clearly, she didn't mind editing the video first, and -- as someone who's had a bit of experience here, I must say that she did a very respectable job with that). Lara was able to link back to her web site,www.larawrites.com and mention her novel's title in her description of the video.

I found out about the video not because I regularly troll YouTube but because Michelle Reynoso, who works at Safeguards Technology, mentioned the video in a LinkedIn group post.

Thanks to Michelle, and thanks to Lara for coming up with an innovative book promotion idea. I hope Putnam Juvenile appreciates you, and I hope Donut Days sells at least 100,000 extra copies because of your ingenuity!

Amazon's Kindle -- harrumph.

I've been pumped to buy an Amazon Kindle, or whatever the state-of-the-art ebook reader turns out to be once the publishing and technology dust settles. But stories like this one in today's New York Times make me wonder: is the technology going to enhance our enjoyment of books and other things in print, or will it just be another source of irritation?

It turns out that the Kindle, which has that text-to-voice feature, doesn't know how to pronounce the name of the United States president. It's also not clear about how to pronounce the name of Boston's basketball team (it's thinking "Celtics," with a hard C, instead of "Celtics," with a soft C).

Speaking of irritants: Look, if I want to mispronounce words, I can do it on my own. I don't need the help of an ebook reader. I accept the fact that my Garmin GPS unit, which also is equipped with that text-to-voice feature, can't articulate street names as clearly as I'd like. But, then, I use my GPS unit to do that which I cannot -- namely, to (usually) get me from point A to point B without taking me through the Amazon rainforest. But reading? I've been doing that for myself since I was about five years old. And, as long as my eyesight holds out, I expect I'll be doing it for myself as long as I live. So, if the Kindle (or any ebook reader) is going to lend an electronic voice to the conversation, it has to do a better job than to decide that "Barack" rhymes with "black" and "Obama" rhymes with "Alabama." If there's a person or place in the news and I'm seriously concerned about mispronouncing it -- and if my radio and my television set break simultaneously, and I don't have access to a computer -- then I can see asking the Kindle to tell me how to pronounce, say, Thomas Cholmondeley or Abu Ghraib. If the voice-to-text technology is going to help me get lost in the linguistic equivalent of the Amazon rainforest, then I don't need it.

And I'm not sure I'd be excited about paying for that which I don't need.

So fix the technology, Amazon (and other ebook vendors), or you're just giving this book publicist an excuse to sit on the sidelines of the emerging technology for an even longer period of time. I'm excited about the new technology . . . now you just have to show me that the whole package really works, and you'll have yourself a new customer.

Good news for book promotion campaigns...sort of.

Well, here's some good news for those of us who are in the midst of book promotion campaigns -- but it comes in the form of bad news. The post office has just increased its rates for first class postage and for mailing postcards. You can check out the new rates at CNN.com which, for some reason, is easier for this particular book publicist than going directly to the "calculate postage" page on the U.S. Postal Service's Web site.

Anyway, if you conduct snail-mailings of media kits, or if you send out postcards to your mailing lists, to try to drum up book promotion opportunities or book sales, then you'll be spending more now than you would have spent two weeks ago on your endeavors.

But I promised you some good news, and here it is. If you're sending out books and media kits via Priority mail, or you're sending out books via Media Mail (no paperwork allowed), then the rates will not go up. So, for most authors and publishers, the rate increases will probably not end up increasing the costs of a book promotion campaign -- for the time being.

I have faith that, one day soon, the rates for the rest of the United States Postal Services' offerings will go up again and, when it does, that will send the costs of book promotion campaigns soaring yet again.

But, for the time being, we're safe. Unless we want to mail our mom a belated Mother's Day card . . . but none of us would be in a position to have to send our moms a belated Mother's Day card, would we? Me? I took my mom to see the new "Star Trek" movie on Mother's Day. Maybe not the best movie choice in the world for my mom but, hey . . . I enjoyed it. For the most part. I could have done without the explosions and violence, but then, I guess the director of the movie had to spend that gazillion dollar special effects budget somehow.

James Frey's dubious choice

We'll do a lot for book promotion opportunities . . . but would you write a novel that includes an account of Oprah Winfrey saying compromising things about "some mistakes she made" on tape? That's what James Frey chose to do in the paperback (the hardcover edition omitted the Oprah section) version of Bright Shiny Morning, according to Wednesday's Guardian.

Frey already has incurred the wrath of Oprah Winfrey by admitting that he fabricated certain elements of his Oprah's Book Club pick, A Million Little Pieces. Along with major book sales, he scored an on-air scolding from Oprah, which couldn't have been a whole lot of fun for him.

Is that Oprah addition to Bright Shiny Morning Frey's way of getting the last word in an argument? Maybe, and maybe it even feels good to Frey as though he's "won" -- but, if I were in his position, I wouldn't mess with Oprah Winfrey.

Oprah isn't some sort of a Mafia don, and I'm not suggesting that Frey should be afraid that she'll respond to the accusations against her in his novel by getting one of her producers to leave a horse's head in his bed. But Oprah's voice in literature is a powerful one, for better or worse, and I wouldn't want to hear that voice raised against my work and me, if I were a novelist -- and I wouldn't court Oprah's wrath in an effort to sell more novels. It seems unworthy and cheap.

If Frey is such a brilliant writer (and I wouldn't know first-hand -- I delayed in reading A Million Little Pieces and, once the controversy broke, I decided not to purchase the book at all), then he doesn't need to talk trash about Oprah. And if he isn't as great as he apparently thinks he is, then Frey has no right to invoke Oprah's name (and try to compromise her reputation) to sell copies of his novel. Certainly, he most likely has a legal right to do so (Oprah Winfrey is a public figure, so I'm guessing it's easier to get away with bad-mouthing her than to pick on another, anonymous citizen). But morally, I think Frey is completely unjustified in telling tales about Oprah as part of his book promotion efforts. I'm not sure what James Frey was thinking, but this is the clearest-cut case of "biting the hand that feeds you" I've seen in a long while.

Stephen King waves his Amazon Kindle 2!

For the past couple of weeks, I've been following the travails of the Boston Globe. Will it survive? Will the New York Times Co. close its doors? (It looks as though it will survive for the time being. According to the Boston Globe's web site, the last of the Boston Globe's unions has finally reached an agreement with the New York Times Co., and all that's left is for the union's membership to ratify the agreement.)

Anyway, while reading every scrap of information I could about the Boston Globe's troubles and those of other newspapers across the country, I stumbled across a Time magazine article called "Will Amazon's Kindle Rescue Newspapers?"

The article talks about a Kindle with a larger screen that's supposed to serve up newspapers (and textbooks) more easily for readers and postulates that this, finally, could be the answer for those of us who -- what? Wanted our broadsheets but didn't enjoy refolding them when we were finished with them? Or didn't want to deal with the overseas-based home delivery staff when subscription issues went awry? Or didn't want to deal with vending machines to buy a copy? Well, I'm sure the larger-screen Kindle will rescue the concept of reading newspapers for some segment of the reading population (I'll get back to you as soon as I figure out which segment of the reading population that is, exactly).

But what really jumped out at me about that Time magazine article was the picture of Stephen King holding a pink Kindle aloft with the biggest grin on his face that I've seen outside a candy shop or toy store. King, who has published a book directly to a Kindle, is enjoying the technology. If you have any doubt about his motive in working directly with Amazon -- if you suspect that he wanted to stick a finger into the eye of mainstream publishers just because he could -- then one look at that photo will tell you differently. King loves the Kindle. He loves being a part of the publishing revolution. He'd love being a part of anything that involves books, because Stephen King loves books.

King isn't holding a copy of The Stand in his fist and saying, "I wrote this great book. I am great. My books are great, and they're not changing. Let's stay where we are and talk about how great everything is" -- as the rest of the civilized world explores new publishing possibilities. King is at the forefront of the publishing revolution, and he doesn't have to be there. He wants to be there, and I respect him for it. And, yes, I love him for it, because I feel as though he's holding my hand through what could be a challenging and frightening ride to an unknown plane of publishing existence.

What could feel threatening to a book publicist (and to a news junkie) feels a lot less threatening, somehow, when I see Stephen King's gleeful expression and can feel his enthusiasm, and his eagerness, for what lies ahead jumping off the page. I can feel King's delight, and I can -- yes, I can -- share it.

I'll have the Boston Globe to read tomorrow, and I'll have hard copies of books to read next week. And the month after that? Or the following year? Who knows? Maybe I'll have a Kindle 2. Maybe I'll have an iPhone with that Kindle application installed on it. Or maybe I'll have a Sony eReader or that thing Barnes and Noble seems to be working or, or maybe I'll have an ebook (and enewspaper) reader that I haven't even heard of yet.

As long as I have reading materials, I'll be good. I can read them, and I can promote them ... whatever they are.

Do book promotion campaigns require tolerance for hate?

Do book promotion campaigns require tolerance for hate? Obviously, they do not. And, as a book publicist, I will never understand why authors subject themselves to interviews with talk show hosts whose on-air persona is about spreading rancor, narrow-mindedness, and xenophobia.

I'm aware that some of the (in my opinion, although I recognize it's a question of personal taste) chief offenders -- Don Imus and Howard Stern among them -- aren't leaving the airwaves any time soon. But I hope that a Boston-area radio talk show host by the name of Jay Severin whose idiocy just came to my attention will be leaving his world, WTKK-FM, for a distant galaxy permanently. Severin, it seems, thinks that Mexico (and, by extension, those who live in Mexico) is to blame for the Swine Flu. I can't quite follow the logic, but apparently, Severin thinks the spread of H1N1 is tied to illegal immigration . . . which, somehow, gives him the right to give voice to racial slurs on the air.

However fast and furious the pace of booking author media interviews might be, I can guarantee you that I would never knowingly schedule an interview with an individual who is disrespectful toward anyone on the air . . . or who earns a living by putting people down. Subjecting authors to foolish, unwise, or short-sighted talk show hosts is no way to promote books . . . and it's no way to run a book promotion firm, either.

Could Boston become a one-newspaper town?

Could Boston become a one-newspaper town? Well, yes. Boston could even become a no-newspaper town at the rate newspaper closings are going (check out this CNN.com story). We all know by now that the Boston Globe's future is precarious. The union leaders have blown past their second deadline without coming to terms with the Boston Globe's owners -- or, at least, the four unions haven't all successfully met the terms dictated by The New York Times Co. for keeping the Globe in business.

Meanwhile, the Boston Herald has turned into a cross between a celebrity magazine and a sports magazine -- and its editorial content, even in those areas, seem to be diminishing every day.

So the question, for this Massachusetts-based book publicist, isn't so much whether Boston could become a one-newspaper town. It's whether Boston could become a no-newspaper town. And the corollary, of course, is this: If Boston becomes a no-newspaper town, what will that mean for book promotion campaigns? Clearly, book reviews in newspapers are becoming distant memories. Yet, strangely, most authors and publishers who contact me still open their conversations with, "My goal is to have my book reviewed in the New York Times or another newspaper of that caliber. Can you make it happen?"

In a word, no. I can't make it happen, and I'm already recommending that authors and publishers take a look at their own newspapers and make note of how few books are actually reviewed therein, and the origin of those books. If your book is already in print, and if your publishing house isn't among the major ones, and you're not paying for newspaper space . . . then its probably not going to see the inside of a newspaper. Instead, you should be focusing on other book promotion opportunities -- and they're out there. You have to be more creative than ever, but that's what book promotion has always been about -- creativity -- and that's a good thing, after all.

I wish the Boston Globe employees and readers luck and success as we see what happens next. Maybe there's still the possibility of a future for Boston's number one newspaper -- for a little while, anyway.

Reassuring book promotion thought for the day.

Do you sometimes feel apprehensive about your ability to handle book promotion interviews with finesse? That happens to a lot of authors -- even veterans of book promotion campaigns -- and that's why I'm pleased to offer a reassuring thought for the day. Here it is.

No matter what you do, and no matter what you say, and no matter what you forget to say -- you could never blow an interview as badly as Hulk Hogan did. In case you missed it, Hogan told a Rolling Stone magazine interviewer (in the context of venting his feelings about his ex-wife who's currently dating a much younger man)that he can "totally understand O.J." Did he stop there? No. In fact, he explained that he was capable of doing that which O.J. Simpson was accused.

Check out the CNN story, if you haven't seen it, and take heart. Unless you have scrambled eggs for a brain or mashed potatoes for morality, you could never mess up a book promotion opportunity as badly as that. In fact, Hulk Hogan has set the bar so low that, from now on, no interview we see or hear read could ever seem as incompetent, unworthy, or inappropriate as before.

Hulk Hogan has given us all a new reason to feel confident in our ability to do a reasonably acceptable interview. Now the challenge is to do an even better interview than you did last time . . . and that confidence and ability will come with practice.

Decency? Unfortunately, that probably can't be learned by those of us who have left our formative years behind. Sorry, Hogan, but no amount of media training can ever change the fact that you don't deserve to talk to another reporter . . . unless, perhaps, it's a court reporter.

Befriend Amazon.

There's been plenty of buzz recently about a glitch (or, perhaps, something far more purposeful and sinister than a glitch) in Amazon's ranking system. (If you want to catch up on the story, click on the New York Times story here.) There's been a copyright battle brewing between the Authors Guild and Amazon over the Kindle 2's "text-to-speech" functionality. (For more on that story, click directly on the Authors Guild Web site.)

But, although beating up Amazon for its myriad controversial choices (or glitches) may seem like a fun and productive sport for publishing industry professionals, I have a hunch we'd all be better served to get to know Amazon a little bit better and learn how to work with it. Specifically, tap into Amazon's book promotion opportunities.

There's a whole world of book promotion potential of Amazon that lies beneath the bookseller's surface. I wish I could say that, ardent book publicist that I am, I found out about Amazon's book publicity opportunities by clicking around the site and uncovering hidden treasures for authors and publishers buried beneath Amazon's surface . . . but the truth is that I read a lot, and most of what I uncovered regarding Amazon's hidden book promotion opportunities, I found via a wonderful book by Brent Sampson called Sell Your Book on Amazon: Top-Secret Tips Guaranteed to Increase Sales for Print-on-Demand and Self-Publishing Writers. I'm not shilling for Sampson (in fact, I don't know him and, except for the fact that I bought a copy of his book, I haven't done business with him). But I'd like to see every author (yes, even mainstream authors can benefit from understanding the book publicity potential of Amazon) pick up a copy of his book.

Amazon's offerings and -- you'll know this if you've tried to work with Amazon using any guides you've come across -- its URLs are constantly changing. So I read everything I come across regarding Amazon's book promotion opportunities so that I can keep up with the available features. (Obviously, I try to keep up-to-date with Barnes and Noble's online book promotion offerings to which, while less robust than Amazon's, are still worth checking out. For example, have you checked out Barnes and Noble's new Blogging Booksellers feature?)

Amazon isn't perfect, and we can all take issue with something about its functionality, vision, style, and the like. (I'm tempted to say that Amazon is only human, but it isn't, and I think that's the point here.) But, anyway, why not take a look at the other side of the story? Why not explore the ambitious and evolving infrastructure that Amazon has built to help authors and publishers gain online visibility for their books? (Yes, of course, I know that helping authors and publishers promote its books through Amazon benefits Amazon as well as authors and publishers, but we're not beating up on Amazon right now, remember?). Just tap into one or two of its book promotion opportunities that so many authors and publishers tend to miss (such as its Wiki that will accept all entries from authors and publishers, at this time), for starters, and see where it leads.

It's big, controversial, powerful, and I know the temptation is to spurn any corporation that boasts those attributes. But Amazon offers so many benefits for authors and publishers . . . so why not befriend Amazon, and see whether its book promotion opportunities can do some good for your book sales?

Book promotion is mandatory.

Book promotion campaigns are mandatory for authors, and shyness is not an option. As a traditionally published author, you owe your publisher your presence on the book promotion trail, and "I'm too busy," "I have a headache," or "I don't like to do interviews" will not be accepted as excuses for your lack of participation.

That's what Dear Abby says, anyway, and -- as a book publicist with a healthy sense of self-preservation and self-interest -- who am I to argue?

One other thing. Who knew that the Dear Abby column was still around? The newspaper to which I subscribe hasn't carried the column for years.

Oh, well.

Return to Book Promotion Mountain

Publishers Weekly recently covered an odd item that I thought I'd share. But first: a riddle. What's (arguably) the best book promotion opportunity imaginable? Answer: a movie.

If a movie based on a book actually makes it into theaters -- which, of course, is a long, long way from selling rights to a film company -- then millions of film-goers learn about your book and, potentially, become book buyers. Right?

Right. Except when the book's publisher goes belly-up before the movie's release, and the book is out of print.

Believe it or not, that's what happened with Disney's new movie, "Race to Witch Mountain." You may remember Paris Hilton's aunt, Kim Richards, who played a child named Tia in the vintage (well, 1970s) movie "Escape to Witch Mountain" and its sequels. That Witch Mountain series was based on a book (unbeknownst to me until now -- and, yes, shame on me for missing this!) called Escape to Witch Mountain that was written by Alexander Key and was published by Westminster Press in 1968. Westminster Press, alas, is no longer among the publishers of this world, and the book was out of print -- groan! -- when Disney released "Race to Witch Mountain."

So here comes the best book promotion opportunity imaginable . . . and the book that could reap the substantially rewards is out of print.

Enter Sourcebooks which bought the rights to the book, Escape to Witch Mountain, and will launch a paperback version of the book at the same time as Disney releases its "Race to Witch Mountain" DVD. No one knows (or, at least, the folks at PW don't know) when that will be.

But . . . at least the book that inspired the movies will be back in print, and at least Sourcebooks and readers -- and, I hope, either Alexander Rey himself or his estate (I couldn't turn up any biographical information on Mr. Rey during a quick online search, although it looks as though another of his books, The Forgotten Door, was published as recently as 1988) -- can benefit from the return of the Witch Mountain fervor.

Ah, 1970s-era Disney movies. Kim Richards, Ike Eisenmann, Eddie Albert, Bill Bixby, Jodie Foster, Don Knotts . . . don't get me going on film nostalgia this Friday morning. Just don't.

Book promotion is your responsibility

A client recently called to let me know that a radio interview hadn't gone well. "The host wasn't prepared, and he didn't ask me the right questions at all. I thought you'd want to make a note of that so you won't approach him again to book other clients on his show," she told me.

Well, I was sorry to hear that the interview hadn't gone well. I'm sure the host and the producer were similarly sorry the interview hadn't gone well; it's their show, and they're the ones who count on guests to help their shows go well so their ratings can go well, and paydays can continue to go well, too.

Book promotion is a team sport, and interviews are always easier when the interviewer does a good job. But, finally, whether or not the interview goes reasonably well is the interviewee's responsibility.

Interviewers are human, and that means they have their good days and their bad days. They have their days of being prepared, and they have their days of being unprepared, and they have their days of being focused, and they have their days of being distracted. There are kind interviewers and aggressive interviews and quiet interviewers and shy interviewers and combative interviewers and bright interviewers . . . and there are interviewers who are as stupid as rocks. There are interviewers in good health and interviewers with migraines and interviewers who suffer from chemical dependencies . . . and, whatever type of interviewer you run into, the interview itself is still your responsibility.

Find out as much about the interviewer as you can ahead of time by checking Google and the media outlet's web site. See, in general, what you might expect. If the interviewer's style is aggressive and argumentative (or if his/her philosophy is on the opposite ends of the spectrum from yours), then come prepared for some challenging, hard-hitting (or maybe even downright silly) questions. Conversely, if the interviewer's style is entertaining and light, then get set for a good time . . . and so forth. If your interview segment is a couple of minutes long, be concise and have sound bites ready. If your on-air time will be allow you much longer than that, then be prepared to elaborate and have the information you might need available to you.

Because you never know exactly what interviewers might want to talk about, know ahead of time what you want to convey. Which messages would provide the best book promotion opportunities for you? Create those messages, and practice delivering them. Then, whether or not the interviewer asks you the "right" questions, bridge back to your message points. Be ready to bridge back to your message points if the interviewer's questions are absurd, off-target, hostile, or just plain uninformed. Say something like, "That's an interesting point . . . and I'd also like to mention that . . . [here's where you slip in one of your messages].

Once you've become comfortable taking responsibility for your interviews, you'll find that your book promotion campaign will be a better experience for you. You'll feel empowered to get an interview back on track when it goes awry, and you'll be able to prevent the interviewer from having complete control over whether or not your interview goes well.

Book promotion is a team sport, as I've said, but you're the person who's promoting your book. Therefore, ultimately, book promotion is your responsibility. Don't let it scare you . . . in this context, responsibility is a good thing, and when you come to an interview prepared to deliver your messages, you'll enjoy the book promotion far more than if you creep to the microphone fearfully and having no idea of what you might expert . . . and how the interviewer might try to derail your book promotion campaign.

Could Amazon someday make major publishers superfluous?

Could Amazon someday make major publishers superfluous? Amazon probably would like to offer the perfect publication and delivery system for books (I want a Kindle, as soon as a few of the current kinks -- big and small -- are worked out). And Amazon has already revolutionized the book publishing industry.

Amazon offers distribution for nearly all books in print. That means that, even if Barnes and Noble/Borders/independent bricks-and-mortar bookstores don't carry a book, media consumers can still buy it ... which, by extension, means that a book promotion campaign can be a worthwhile investment. That was not the case B.A. (Before Amazon), when an author who sought book promotion opportunities but whose book was difficult to purchase could not benefit from media visibility. I remember those days well, because as a book publicist with integrity, I used to turn down the opportunity to represent self-published books just for that reason.

With the advent of Amazon, media consumers could suddenly buy books online as soon as they saw, or heard about, or read about the author ... so book promotion opportunities could become sales opportunities, too. And that was true whether your book was published by a mainstream publishing house or whether you had your own, as-yet-unknown imprint (or were working with an obscure, specialized book publishing house).

So Amazon has already affected book promotion, and it has changed our book-buying habits, and it probably holds the key to our future reading rituals. But could Amazon ever make major publishers superfluous? We know that authors who self-publish their work can use BookSurge (or not) and national book promotion campaigns to get their books in front of the masses. But would bestselling authors ever jump ship from major houses to Amazon's publishing and delivery systems? Would authors earn more money if they did? What about the other side of it -- what would authors sacrifice if they forfeited the prestigious imprints on their books and published directly through Amazon?

Check out this article, "Why the Lack of a Jeff Bezos Dooms Mainstream Publishing," in Dear Author for an interesting take on why Amazon might, eventually, render mainstream publishing houses just so much extra baggage for the most successful authors (it goes without saying that, for most authors, mainstream publishing was never an option).

As the article points out, mainstream publishers are cowering in the corner, bemoaning poor book sales and lamenting the fact that "no one is reading anymore." At the same time, Amazon's Jeff Bezos is essentially experimenting with different ideas every minute, and finding success with enough of them to be truly excited about the future of publishing. Given those two distinct camps -- the chest-beating, traditional publishers and the future-facing Amazon -- isn't it apparent that, one day, Amazon could make major publishers superfluous?

Could be. And, if that happens -- harsh though this may sound -- I'd have to say that major publishers deserve what they get. If you're not growing and changing, then your stagnating ... and nothing good has ever come from standing still, in publishing or in any other industry.

Barnes and Noble's latest book promotion opportunity

Barnes and Noble is smart and innovative, and both attributes will serve book promotion-savvy authors very well. For example, according to a Publishers Weekly article by Lynn Andriani, BN.com has launched a new "Blogging Booksellers" feature on its site. Bookstore bloggers in nine cities will create video blogs about the books they recommend and about bookstore events that, undoubtedly, feature some of the same books.

How's this for a book promotion opportunity? Go to BN.com, and click on the "Barnes and Noble Studio" tab. Then click on "Meet the Blogging Booksellers." Locate the Barnes and Noble store closest to you (using the map and the "Select a Location" drop-down list to pinpoint the store near you). Click on the blogger's Barnes and Noble profile to pull up the blogger's full name and position, and then call up the local store to pitch your book to the blogger.

It could net you visibility on the BN.com Web site. You couldn't beat that for a book promotion opportunity! And, if it doesn't work out, that's okay. There's always the next event, or the next book, to pitch!

Book promotion limits?

Are there limits to the extent to which you'll go in order to garner book promotion opportunities? I hope so! An example of an out-of-bounds book promotion maneuver (in the opinion of this humble book publicist, anyway) is playing an April Fool's prank on the media.

Editors, producers, and reporters might choose, on their own, to observe the rite of foolishness on April first. But authors, publishers, and book publicists don't have to feed into that nonsense in the name of book promotion.

Forgive my grumpiness, but I just read this article on CNN.com called "A nod and a link: April Fools' Day pranks abound in the news." Some journalists might have found it amusing to cover a spaghetti tree pest back in 1957. But I'll be honest with you: if I'm watching, reading, listening to, or clicking on a newscast, I don't want to filter the news through my reality filter (which isn't to say that I take every word uttered by all the media, all the time, at face value, of course). I want to trust that the newscast has at least tried to get its facts straight and has the good sense to not play games with media consumers on the first day of April.

It's not that some of my clients haven't thought that it was worth pitching a "joke" to producers and editors in honor of April Fool's Day. It's just that, as a book publicist whose reputation matters to me (and who values the integrity of her clients, as well), I don't think it's appropriate to play games with the media under any pretext whatsoever.

It's not worth scoring book promotion if you have to play an April Fool's Day prank to do it.

And, no, I don't think April Fool's Day pranks are very funny. Alas.

Don't squander an easy book promotion opportunity.

Don't lose an easy book promotion opportunity. Well, I say "easy." Actually, it's not necessarily an "easy" book promotion opportunity I wanted to point out, but it is an obvious one -- or, at least, it should be obvious.

I'll change a couple of details so that I won't embarrass anyone involved. but here's the gist of what happened.

I was just reading a magazine during lunch (yes, I know it was only 10:30 in the morning, but I was hungry for lunch and I needed a break, anyway), and I came across an interesting article that was written by a doctor I hadn't heard of before. Naturally, this book publicist's curious eye jumped to the byline, which was about the length that authors hope it will be. This byline read, "Dr. Jane Smith is a pediatrician, author, and a mother of three children under the age of eleven."

And, just that simply, and needlessly, a book promotion opportunity was lost.

Here's what I'd tell Dr. Smith, or her publicist -- and here's what I would stress to every author, publisher, and book publicist. Writing and placing articles in magazines, newspapers, and online are a great way to spread the word about your book. But you have to turn your articles into book promotion opportunities, because that won't just happen by itself. It will happen if you create your own byline and submit it along with your article when you invite editors to publish your article. And, naturally, your article should mention the key points: Your name, your book's title, and the Web site for your book. Then, if the editor invites you to submit more information, that's grand: you can add other key elements of your bio (you're a pediatrician, you have three children under the age of eleven, or you live with four iguanas and 23 guinea pigs, or peanut butter and jelly sandwiches are your favorite, or whatever the case may be).

But your article serves to give away enough information to convince readers of your credibility as an expert. The article itself isn't going to sell copies of your book to readers. You can't take a paragraph to say, "In my book, I say such and such." Well, you can take a paragraph to say that, but the editor will delete it -- and, worse still, could consign your article to the circular file rather than publishing it.

So your article can't sell your book to readers, but your byline can. Your byline is your payment for letting the editor publish the article (presuming this is a small publication that lacks the budget to pay authors for submissions, which is where most of the book promotion possibilities for bylined article placements hide). Your byline shouldn't say "Dr. Jane Smith is an author." Your byline should say "Dr. Jane Smith is the author of 'The Jane Smith Book,' and you can visit her online at www.thedrjanesmithbookurl.com/.

That gives your readers all the information they need to buy your book. And that is the difference between creating a book promotion opportunity and, frankly, tossing a book promotion opportunity right out the window.

A book promotion opportunity with Indiebooksellers.com

I'm lucky enough to have a friend, Amy Holman Edelman, who is a book promotion genius as well as a corporate marketing guru. She's also a bestselling author (The Little Black Dress and "Manless in Montclair: How a Happily Married Woman Became a Widow Looking for Love in the Wilds of Suburbia."

Her new book promotion brainchild is IndieBooksellers.com. She just emailed me a letter that she's sent out to a few book publicists. If you're a book publicist and you haven't received a letter, you may want to read it -- so, with Amy's permission, I'm cutting-and-pasting the letter below. And, if you're a self-published author, or you know anyone who is, then take a look at IndieBooksellers.com. I think it's going to be a great opportunity for self-published authors and their book publicists. And I can attest to the fact that Amy is a brilliant publicist herself (ask her, sometime, how she happened to meet her husband...and what the New York Daily News had to do with it!).

Amy's letter, then:

Do you represent any self-published/POD books? If so, I’d like to tell you about a new website called IndieBooksellers.com (IB), like Amazon.com for self-published and POD books.

The reasoning? There are many great books that don't make it into the traditional publishing system. IB will be a place for self-published/ POD books to essentially "come out of the closet"...to shed the stigma that--up till recently--clung to that category. As Sundance has done for Indie films, IB’s mission will be to promote and legitimize independent books and authors. And with more and more Indie books finding mainstream success (think Lisa Genova's Still Alice, currently #9 on The New York Times bestseller list), the change has already begun.

In addition to visibility and a sales platform, the site will offer authors a website page with their own URL, which can be used to post reviews, promote their books, etc. The fee to the author for inclusion on IB is $149 per year but prior to going live (in about 7 weeks) we will be offering a discounted rate of $99 per year. All books on IB will be vetted prior to acceptance.

The IB Home and Author pages are attached. Please let me know if any of your clients would be interested in participating or send them to www.indiebooksellers.com to sign up. If you refer an author/ book, your company will get listed—at no cost—on our resource page. Please let me know if you'd like to discuss further.

Best,

Amy Edelman
IndieBooksellers.com
973/783-3052
ahedelman@comcast.net

A book publicist takes the Twitter plunge -- for real!

I've finally done it. I was sending an email to a client and, for the first time, I added my Twitter handle (@bookpr) to my signature.

I've been tweeting for awhile, and I'm pleased to count bookstores, libraries, reporters, reviewers, literary agents, authors, and producers among my followers. And I'm getting into a rhythm of letting fellow tweeters know about my clients' bookings and bylined article placements -- all of which, I imagine, will have to add to their online book buzz.

So, yes, I've seen the book promotion potential of Twitter and spent a bit of time experimenting with it over the past couple of weeks. Now I'm getting it, and it promises to be an effective and exciting new way to explore book publicity opportunities.

A few days ago, I took the time to add my Twitter handle to the contact information on my Web site.

But there was something particularly momentous about adding my Twitter handle to my signature on an outbound email. Somehow, adding that information to my signature was a signal -- to the recipient of that email and to me -- that Twitter is becoming an important part of the book promotion process.

I'm eager to watch it working for my clients, and if you're using Twitter (along with other social networks, such as LinkedIn and Facebook), I hope you'll let me know how well it's working for you.

Scribd for Book Promotion

Yesterday, I discovered Scribd. Scribd is the latest hope of publishers and authors who want to promote their books online.

Users sign up, and then they get to see book excerpts, and even full-length books, for free. According to a recent article in TechCrunch, such major publishers as Random House, Simon & Schuster, Workman Publishing Co., and Berrett-Koehler have already begun explore the book promotion value of Scribd. Scribd beats the book excerpts that you can find on Google and Amazon, the article contends, because Scribd lets users embed the book excerpts in their own blogs and on their own Web sites.

And, like Google and Amazon, Scribd levels the proverbial playing field between mainstream books and self-published books. Just as all cats look grey in the dark, all books look equally palatable -- or not -- on the computer monitor. Every book benefits to the same degree from Scribd's book promotion value, regardless of the publisher, or the author's renown.

Which leads me to my own beef about Scribd (and every other site that offers books, or book excerpts, for free. This peeve doesn't involve copyright issues or philosophical concerns (of course I don't want pirated books to abound on the Net, nor do I want paper books to disappear) but, rather, readability.

I tried to read one of Random House's titles online via Scribd, and all I got for my efforts was the beginnings of a headache. Is anyone really going to read a book on his or her computer monitor? I understand that ebook readers are nearly (although, perhaps, not quite) ready for prime time. But does any publisher, including self publishers, really expect potential book buyers to start reading a book -- and to enjoy that book -- while glued to the Scribd site?

It would be nice if Scribd had revolutionized the art of reading a book online, but to be fair, that's not its business. Scribd does have buy-in from enough major publishers that, maybe, I'll simply be outvoted. Maybe potential book buyers and the media will flock to Scribd. Me? I'm not flocking. But that might just be my loss.

Mine Magazine Is Here

Print on demand technology has come a long way. Time Inc. is currently experimenting with Mine Magazine. here's the scoop from the Chicago Tribune</span>. You sign up to receive either a print or a digital test version of Mine Magazine here. Both print and digital subscriptions are limited, and it's first-come, first-served. You choose the sections you want, of the five magazines you want, and you'll received the personalized magazine with ads based on your selections.

This book publicist just subscribed to hers, and she can't wait for it to arrive.

Floating Sully's book promotion potential

William Morrow has the right idea. It's advancing between $2.5 million and $3 million for a two-book deal by an unlikely author: the pilot, Captain Chesley (Sully) Sullenberger, who emerged from a plane accident in New York unscathed -- and a hero for not only the 150+ passengers and crew members whose lives he saved, but for everyone in the world who followed the story. You can read about it here.

The question may eventually arise: Can he write?

Let's be honest. What difference will it make? Sully is a national treasure, and he'll have all the book promotion opportunities he needs, for the asking, upon the release of each of his books. We'll see and hear and read the book publicity Sully receives, and we'll check out his books so that we can share some of that heroism, too.

Sully's book deal makes us feel good, and the book promotion hasn't even begun. Way to go, Morrow, and kudos to your acquisitions department. You scored a winner -- actually, two winners -- here.

Will you still be receiving book promotion in 400 years?

Will you still be receiving book promotion opportunities in 400 years? It can happen. William Shakespeare got a pop on CNN.com: "Unique portrait from Shakespeare's life unveiled." Yes. Click here, and you can see William Shakespeare's photo. Supposedly.

Although, since the author himself didn't supply the CNN.com reporter with the photo, and since his original publisher wasn't able to email, either, I'm not morally convinced that we can prove it's actually William Shakespeare's picture at all. Still...it's interesting to speculate about whether any of today's author's will be receiving international exposure on the largest and most influential mass media outfits in, say, the year 2409.

Be interesting to imagine what book promotion will look like then.

Follow me on Twitter!

I'm starting to get my other foot wet on Twitter. I got my first foot wet when I set up a Twitter account. Now that I'm actually following other Tweeters, it's starting to get interesting and worthwhile. I'm beginning to see how Twitter really can be part of a successful book promotion campaign. For anyone who wants to follow me on Twitter, I'm @bookpr. See you on Twitter!

Is Reuters ignoring your book promotion pitches?

Is Reuters ignoring your book promotion pitches? Mine, too. Reuters generally gives my book publicity the cold shoulder. If you're wondering why Reuters isn't seeing your story pitch as news, maybe this will help explain it. Here's a news story that Reuters just covered: "Indian boy marries dog to ward off tiger attacks." I have to believe that, in India, discerning readers and media consumers (not to mention book publicists) are shaking their heads in dismay....

From Oprah's Book Club to Waiting Tables?

What's the biggest book promotion achievement you can imagine? Oprah's Book Club? The New York Times bestseller list? The Publisher Weekly bestseller list?

Novelist Chris Bohjalian has scored every book promotion coup you can name. Yet, in yesterday's Sun Sentinel article penned by Chauncey Mabe, Bohjalian admits that he feels professionally challenged by the digital age and the fact that, with more choices available to them, fewer people are reading traditional books. Bohjalian, who wrote the enormously successful Skeletons at the Feast, joked about someday having to wait tables.

On the other hand, Bohjalian also said he enjoys connecting with his fans via the Internet. Online book clubs couldn't exist outside of the digital revolution, so Bohjalian's biggest threat has also provided him with new opportunities to connect with his readers.

I'd say that's a pretty fair trade-off. And, somehow, I'd guess that Bohjalian himself would agree.

Layoffs at HarperCollins explained -- horribly.

Yesterday, I heard rumors of layoffs at HarperCollins. Now I've read the explanation in Publishers' Weekly, and it's ugly. According to PW's article, "Harper Closing Collins; Other Layoffs Planned," Harper is closing its Collins division. Collins' general nonfiction, business, and reference titles will be published under the Harper imprint, which is fine...but, with the expansion of Harper's list, it's obvious that the books published under the Collins imprint (or even the Harper imprint, for that matter) won't get the attention they would have received and that they should have received. Book promotion, marketing, and sales may well fall by the wayside for individual titles -- through no fault of the authors or the publisher.

To me, that's an indication the economy is really hitting the skids: when authors' book projects are compromised and it's nobody's fault. Even this book publicist, who would love to blame a "bad guy" for the situation in which HarperCollins' authors find themselves now, can't. Stuff happens. And, in this economic climate, we'll be undoubtedly seeing a whole lot more stuff.

My thoughts and prayers are with those who are affected by the changes at HarperCollins -- staff members and authors alike. It's the end of an era for all of us...book publicists, book lovers, authors, and publishing industry professionals alike.

New York, New York

It's back! Book Expo America, the granddaddy of all book trade shows in the U.S., will be held in New York ate the Javits Center again in 2009...and in 2010, 2011, and 2012. It will also be shortened by one day, according to an article in Publishers Weekly.

That means, obviously, that plans to hold BEA in DC and Las Vegas have been postponed indefinitely. Well, okay. Makes sense to me. Many of the major publishing houses are based in New York, and it's far less expensive, and far less disruptive, for them to travel to the Javits Center than to go anywhere else. A New York-based trade show might not be nearly as much fun for a New Yorker as, say, a Las Vegas-based trade show...but that's the price we pay to economize.

I just heard from a HarperCollins author that the publisher has, in fact, downsized its staff. Is this the time to be planning a jaunt for the remaining staff members to a distant city in 2010? No, of course not. So, in that sense, it's good that BEA will remain in New York for the next few years.

On the other hand, I do look forward to a healthier economy that, one day, will allow publishers (and, not so coincidentally, book publicists) to write off trips to more exotic locations for BEAs of the future. Has anyone given any thought to holding BEA in Hawaii, I wonder?

Be a pig for book promotion.

Want to get an interview slot on NBC's "Today Show," or score other high-visibility book promotion opportunities? Then be a pig. It worked for Miss Piggy who discussed her new book, The Diva Code: Miss Piggy on Life, Love, and the 10,000 Idiotic Things Men Frogs Do, on this morning's "Today Show."

Don't quite have the swine look and feel? That's okay. There are still book promotion opportunities waiting for you. It just won't be as easy for you, as a non-porker (and non-muppet) to score a high-visibility slot as it evidently is for Miss Piggy. But don't fret. What you may lack in looks, brilliance, and pork potential can definitely be made up in creativity. You'll just have to do more to score your book promotion opportunity than express your willingness to diss frogs in public. Ah, to be a pig!

What to do when publishers (or self publishers) won't..

It was inevitable that the economic downturn would hit the publishing industry. Book sales had dropped off before the recession. Shrinking wallets and corporate panic (with good cause, unfortunately) was unlikely to help. So mainstream publishers (who already weren't publishing a terribly high percentage of all new books) are publishing fewer books and promoting and marketing fewer of the books they have published. That means book publicists' phones are ringing more often than before -- not necessarily with tons of viable book promotion projects, but still, most authors understand that, if they want their books promoted, they have to do it themselves or hire a book publicity firm to do it for them (or at least to partner with them to conduct a book promotion campaign).

The hitch? So many authors come to the question of book promotion when it's almost too late. They email or call a book publicist and say, "My book was published by [fill in the name of a major publishing house] in 2008, and that publisher failed to promote my book. What can you do for me?" Well, immediately, I can tell them that they should have contacted me several months before the book was published so we'd have the greatest window of opportunity for book promotion ... and then I can tell them that there are still some highly effective book promotion strategies that we can try.

Mainstream books have a fairly long window for promotional opportunities because they are mainstream published books. But what about self-published books?

In case you missed the New York Times article of January 27, 2008, "Self-Publishers Flourish as Writers Pay the Tab," here's the link. It offers a headache-inducing quantity of information about various ways in which authors might self publish their books, but it doesn't offer a primer on how to figure out which self publish route is best. It's almost impossible for a publishing industry outsider to chance upon the best self publishing solution; it takes time, research and, unfortunately -- for many authors -- making some mistakes and learning from them.

So authors contact me and say "I'm curious about what it would take to launch a book promotion campaign for my self-published book" too late for me to steer them toward the most information they could find: they haven't really self-published at all. My definition of self publishing is having your own ISBN number and bar code on your book, and having your own imprint on it, too. The minute any company sells you those things, or insists that you use them, then -- for book promotion purposes -- you haven't self published. You've saddled yourself with someone else's baggage, and when you go to promote your book -- or you try to engage a book publicity firm to help -- you're necessarily dragging around the weight of thousands of subpar, unpalatable titles. The media is aware of the dismal track record of so many of the turnkey print-on-demand publishers. Therefore, many of them steer clear of those imprints. However, if your book is truly self published -- if you bring your own imprint to it, and your own clean slate -- then you are on an equal playing field when you launch your book promotion campaign.

I wish the New York Times article had urged would-be authors to do their homework before they committed to publishing their books through any of the companies they mentioned. All of those companies have their place, and I would personally go with any of them -- under the right set of circumstances, and for the right reasons. But I'd do so because I've done my homework. I know the differences between the companies, and I know their limitations, and I know which are likely to help -- or hinder -- book promotion and book marketing efforts.

At this time, there are no resources I would recommend as a shortcut to finding out which method of self publishing would be best under various sets of conditions. There's a book called The Fine Print of Self Publishing: The Contracts & Services of 45 Self-Publishing Companies Analyzed Ranked & Exposed by Mark Levine that's helpful in a lot of ways and that you should buy if you're comparing various companies' contracts -- but the book doesn't go far enough in discussion the book marketing implications of each publishing choice. To really understand how to self publish, you have to ask the right questions of each company you're considering. These questions include (but aren't limited to):

* May I use my own book cover? (So many print-on-demand companies' book covers are unappealing enough to cause negative feedback from important media outlets.)
* May I use my own imprint instead of yours? (As I've said, it's much easier to drum up book promotion opportunities for books that don't suffer the stigma of an imprint responsible for printing thousands and thousands of "duds.")
* Will my book be carried by Ingram Book Group? (If you don't know who they are, you really have to do your homework. Distribution through Ingram is critical to a book's mainstream success, and the only time distribution through Ingram wouldn't matter would be if your niche were so small that you were selling directly to your target audience rather than conducting a book promotion campaign to drive potential buyers to bookstores.)
* May I use my own ISBN number? (That's actually the same as asking "May I use my own imprint instead of yours," since book buyers and the media can easily recognize the ISBN numbers that belong to huge companies. You're far better off, from a book marketing perspective, if you can use your own ISBN number -- and, please, buy the whole block of ten numbers rather than a single number so you won't end up spending more money than you have to as you decide to publish an ebook, an audio book, or your next title.)
* What can you do to help me get book sales if I score some major book promotion opportunities? (In a traditional publishing house, the marketing department communicates your book promotion hits to its sales force on a regular basis so that stores will have an incentive to buy more copies of your book. What can the self publishing company you're considering do to help make your book promotion efforts worthwhile?)

That's a starter list of questions that will help you choose the "right" way to self publish a book that you intend to promote and market. But the best advice this book publicist could provide to most authors who want to self publish their books would be this: to maximize your chances of selling the greatest number of books as a reward for your book promotion efforts, work with LightningSource. I have no financial relationship with LightningSource, and I have never been a client of theirs (although several of my clients have worked with them), but I do appreciate the fact that the company distributes through Ingram; insists that you use your own imprint and ISBN number (they don't offer you any other option); doesn't require exclusivity; and -- last time I checked -- charges only about $75 to set up an account. But working with LightningSource isn't as easy as working with one of the turnkey solution print-on-demand companies. LightningSource insists that you be your own publisher, and while the account representatives will offer guidance, they won't do the work of a publisher for you.

I love the fact that I'm hearing from more authors than ever before, and I'm flattered that so many of them have looked at my web site, like what they see, and have inquired about my book promotion services. But I'd so much like to catch authors before it's too late to get a book publicist really excited about a project: before a major book publishing house has given up on promoting the book (or lost interest in selling the book) or before an author has committed to working with a print-on-demand company whose imprint would make a book about 95% more difficult to properly promote than it has to be.

Web sites rather than book tours for book promotion's sake?

Would “The Da Vinci Code" have become a blockbuster hit if it hadn't received help from a promotional Web site designed by Jefferson Rabb? Maybe not, according to a New York Times article called "See the Web Site, Buy the Book" that appeared on January 23, 2009. Although the article grants that no one knows for sure whether a Web site enhances book sales, it postulates that a Web site is as important part of a book promotion campaign as anything else and has, in fact, replaced the book tour has the core of a book promotion campaign.

Agreed. I've seen clients with substantive Web sites receive interest from national television shows, radio, newspapers, and wire services as a direct result of their online visibility. That doesn't mean, if Google singles you out as the de facto expert on your topic, that you can fire your book publicist and cease all other book promotion efforts. But, as an adjunct to a proactive book promotion campaign, a book's Web site is unmatched for its potential to raise the media's, and potential book buyers', awareness of you.

The Times article also talks about several firms that create book trailers: Circle of Seven Productions, Expanded Books, and AuthorBytes (the latter of which, I'm proud to say, designed my Web site.

I'd recommend checking out one of the companies in that Times article, or finding out which Web design firm produced the book sites to which you're most attracted, if you're in the market for a book Web site, or a book trailer, of your own. What the Times article doesn't say is that, if you have an amateur design your book Web site, or produce your book trailer, you can -- and, I believe, will -- hurt your credibility. With so many firms specializing in book Web sites, it makes sense to work with a company that knows how to create what the media, and book buyers, expect. That's not to say that you want to use a template to create your book Web site or you want an exact recreation of another author's Web site. But you do want to work with a Web design firm whose sole focus is on authors and books rather than a corporate Web designer. And, however much you may care for your young relative who's majoring in graphic design, this isn't the time to engage him or her professionally. Times may be tough, but an investment in a wonderful book Web site may be a wise idea. Doing business with an inexperienced firm, or a teenager, is not.

"Twitter must be part of every book promotion campaign you do.*

A publishing professional just called (yes, he called me on the telephone) to alert me to a CNN.com article about social networking and to make his argument that, henceforth, Twitter has to be part of every book promotion campaign. "Twitter has become its own newsfeed," the publishing professional enthused. "That's how people are getting their news now! Tweets reach people before Associated Press stories do! If you're not tweeting, you're not promoting your book!"

Well, maybe. But I'm still not convinced.

If. heaven forbid, an author tweets to her followers, "We're having an earthquake!" then that news will make the rounds. But if the same author tweets five times a day about the progress of her book promotion campaign ("I just sent out 3 email pitches to the media," "A national radio show producer is on vacation this week and won't be checking his email - that leaves two pitches that might come through," "Just received an auto response from a producer, so who knows what might happen," "I received a random phone call from a high school classmate and pitched my book to her," and "I just sold a coworker a copy of my book"), that's going to get old pretty quickly.

As a book publicist, I'm excited about the growing possibilities of Web 2.0, citizen journalism, social networking, and all of the other avenues that are opening up as quickly as someone can invent new ways to use them -- for book promotion and beyond.

Who knows? Maybe there's a way to Tweet about your book promotion campaign without boring the socks off your followers. And maybe there's a way to broadcast messages to Facebook and MySpace groups without triggering a mass gag reflex on the part of recipients around the globe.

For now, it's worth keeping an eye out to see how authors, publishers, and book publicists are using social networking to promote their books and their messages. Tomorrow...maybe we'll all be tweeting instead of using email or talking on the telephone to spread our book news. We'll have to see about that. In the meantime, I'll dip another toe into the waters. I already have my Twitter, Facebook, and MySpace accounts....

Wouldn't it be great if this could happen with book promotion opportunities?

Sometimes, for whatever reason, an interview doesn't go perfectly well during a book promotion campaign. The interviewer might be having a bad day or might become confrontational or ditzy; the author might be nervous, over-confident, or distracted. In any event, wouldn't it be great if book promotion interviews could be done a second time if they went south initially? Well, of course, if it's a taped radio or TV interview -- and if it really went south -- there's a chance (however slim) that the interview could be taped a second time (or, at least, that the most embarrassing part(s) could be edited out. And, if newspaper and magazine reporters have a heart, they simply won't use the portion(s) of the interview that were awful or would show the author in a bad light.

But, typically, book promotion interviews happen, and you do your best, and then you're done...and you move onto the next opportunity. Hopefully, you learn from the experience and you improve your performance each time. And, hopefully, your book promotion campaign gets stronger, and more effective, over time as you become better and better.

Wouldn't it be wonderful to be the President of the United States or the Chief Justice, though, and have an opportunity to take a wrecked TV opportunity and do it all over again the next day? It happened. The botched Oath of Office was able to proceed without a hitch the second time around. Here's the story.

There weren't many media people around when President Obama and Chief Justice Roberts went through the whole Oath again, "very slowly" this time. But it must have been a source of satisfaction to both the President and the Chief Justice that, when the pressure was off, both could perform at the top of their game...and that they weren't doomed to remember the silly mix-ups (because it sounds to me as though there were a couple of problems with the Oath of Office the first time around) that occurred on Inauguration Day.

Would that all authors had an opportunity to redo their less-than-perfect media moments!

Traditional book promotion just got a bit more expensive.

Traditional book promotion -- the type of book publicity campaign that involves mailing out books/media kits and following up to pitch reviews and interviews -- just got a bit more expensive. The price of mailing a United States Postal Service flat-rate envelope (the type of mailer that's supposed to be used for documents but that accommodates a trade book, too, most of the time, as long as you don't have to apply tape to keep the mailer closed) just went up to $4.95.

The postal rate increases (which apply to Priority and Express packages) might make some authors and publishers (and book publicist) think twice before committing to massive, blind, untargeted mailings. There are much beter ways to conduct book promotion campaigns. There always have been (online book promotion campaigns have always been far more efficient than traditional book promotion campaigns). Now book promotion specialists and others have more incentive than ever to make the switch.

Inauguration: Awesome, Inspiring, Overdue, and a Book Promotion Lesson

I was thrilled, proud, and overwhelmed to watch the presidential inauguration today. I also hate to be the book publicist to say "I told you so," but I do tell authors who are in the middle of their book promotion campaigns, or about to start their book publicity campaigns, "Rehearse! Don't presume your book's title and your Web site's URL will trip off your tongue when the host or reporter asks for it. Practice! That's the only way to know for sure that you'll be able to do the job when the time comes."

Notice: President Obama rehearsed his speech for the past week or two, and he spoke every word of it passionately and effortlessly. But the Oath of Office, to which he didn't give any thought (it was just a "repeat after me" situation, so what could go wrong?), went south immediately. "I solemnly what? Dang. Let me do that over again."

Yes, President Obama was nervous and under stress. But...sorry. It wasn't supposed to show during the Oath of Office. Nothing about the vow was spontaneous or unexpected. The President blew it.

Granted, if that's the worst mistake that the President makes during his Administration, we'll be the most blessed country in the galaxy. But...that embarrassment and momentary loss of cool could have been avoided by a few minutes of looking over the words, practicing them, and getting ready to say them.

Joe Biden probably flubbed his oath, too. It seemed to me he did, anyway, however slightly. Still...as Judge Judy might shriek..."Where did they think they were coming today? They were taking the Oath of Office. How difficult would it have been for the President and the Vice President to come prepared?"

I know that I'm being a grump. In part, I'm trying to cover up how deeply moved I am to have a new, youthful, and (I think, anyway) wonderfully exciting person at the helm and another great soul by his side. My prayers are going out to the Obamas and the Bidens, and to all of us, wherever we live, and whatever our political philosophies.

This is a great day, historically, and it's a great day for me, personally.

But...gentlemen? Next time? Look over the words before the cameras roll! That's all I'm asking.

Perhaps I'm being too hard on Obama and Biden. Perhaps they were given the words in the wrong order, and then they were flummoxed when they were supposed to report those words. But...again. Being prepared would have prevented the problem. Listening, and responding with cofidence, is so much easier to do when you're fully prepared.

Oh, well. Next time....

Why are do online sales represent such a small portion of book sales?

I'm currently reading (actually, that's not exactly true; I'm currently devouring) Steve Weber's book, Plug Your Book: Online Book Marketing for Authors (more about that in a future post, I promise, because this is a book that no one who's tackling a book promotion campaign can afford to ignore, and I'd like to explain why in a post dedicated to the topic). Anyway, I'm reading Steve Weber's book, and he repeats a statistic I've heard before: 15% of book sales take place online.

That figure has always seemed low to me. I'm biased, because I do most of my impulse book buying online. Amazon, particularly, lures me to buy its wares with its well-targeted email pitches and creepily on-target, irresistible reading suggestions meant just for me every time I log onto the site. It's not only Amazon that triggers my book-buying behavior. It's also BN.com, Half.com, eBay.com, ABE.com, and any other .com that I stumble upon in my quest for truth, justice, information, entertainment, and the American Way. So I buy books online, and it's sometimes hard for me to fully appreciate the fact that most people don't, and that most book purchases take place inside bookstores. Isn't going to a bookstore less convenient than clicking a mouse a couple of times? Here in New England, during an Arctic cold snap, I'd say that it is. Of course, bookstores are more fun than an amusement park (to this book publicist, anyway), but I'm not always going to get to one. I will always have Internet access, and I will always be able to buy books online.

As for why most people don't buy their books online, I'm guessing that an article I just read on MSNBC.com titled "Study: If you touch it, you will buy it" can, at least partially, explain why bookstores still boast more book sales than the Internet. The study in question, which was published in the August 2008 issue of the journal Judgment and Decision Making, found that people who touched items were more likely to buy, or at least bid for (at an auction), those objects than people who only looked.

Maybe widgets such as Amazon's "Look Inside the Book" feature which allows browsers to "flip through the pages" of a book in a virtual sense helps level the playing field between vendors whose books can, and can't, be touched. But...well, bricks-and-mortar bookstores (at least according to all the statistics I keep reading, in Steve Weber's book and beyond) maintain a huge advantage over online bookstores. The prediction of this book publicist is that, as book buyers all get Broadband service and move into the 21st century for real, that will change. I know. Other things will have to change, too. Computer security will have to be enhanced so that people will no longer fear giving their credit card, or their banking account, information to an online vendor. Some of the tougher-to-navigate online booksellers will have to hunker down and streamline some of their functions (I, for one, don't enjoy having to click about 24 times to find a relative's "wish list" when it was time to shop for holiday gifts).

But, when the dust settles, I think (and trust) that online booksellers will learn from shoppers' documented behaviors and quirks and preferences, and they will transform the online book buying experience into something that, finally, resembles the Holy Grail: walking into a bookstore, browsing the shelves, admiring the bindings and covers, and touching, smelling, flipping through, and hefting the "real thing."

Book promotion efforts these days focus as much on bringing readers to Web sites, and online bookstores, as they do on compelling people to walk into bricks-and-mortar bookstores. But I think that reality is already beginning to change.

What about you? Where are you buying books these days? And where are you directing readers?