Book Promotion Budget Under $100?

If your book promotion budget is less than $100, you can't afford to hire a book publicist. But that doesn't mean you can't afford to promote your book.

Do-it-yourself book promotion campaigns consist of:

* writing your own press materials
* compiling your own media lists
* getting contact information for those media targets
* isolating story ideas and news hooks
* creating a pitch
* scheduling media interviews
* following up

If you know your way around promotion, then you have an edge on authors who don't. But you still may want to learn key trade secrets, such as how to pitch the producers at the Oprah show or how to reach the editors at USA Today. Whether you're looking for tips on how to create the perfect pitch or ways to tap the book marketing potential of the Web, you might be able to find what you need at a pricet you can afford.

With several partners, I've just launched a book promotion tools site for those who want to publicize their books but can't afford to hire a book publicist (or who want to continue a book promotion campaign after a contract with a book publicity firm has run its course). The site is BookPromotionTools.com, and it's one way you might begin a book promotion campaign on a shoestring.

Another way to begin a modest book promotion campaign is to make a list of local media outlets, open up the phone book, and get contact information for each of those venues. When you can't afford to have a book promotion specialist do it for you, roll up your sleeves and get to work. A tight budget is no reason to delay promoting your book!

If Norman Mailer Had Asked Me...

If Norman Mailer had asked me, I would have told him to re-think the subtitle on his novel, The Big Empty : Dialogues on Politics, Sex, God, Boxing, Morality, Myth, Poker and Bad Conscience in America. Just whom, I would have asked him, do you expect to remember that subtitle? Do you even have it committed to memory? How do you expect that subtitle to just roll off the tongues of television and radio show hosts, and how do you propose that magazines and newspapers find space for it?

Then again, if Norman Mailer had asked me, I would have told him that nearly all the titles of his books (The Executioner's Song, The Naked and the Dead, et al.) were too depressing.

I'm right about the fact that Norman Mailer's book titles (and, in this case, his subtitle) aren't optimized for their book promotion value. But, okay, I will concede that, overall, Norman Mailer's career as a novelist has been pretty much on track -- even though he hasn't listened to my advice with regard to his books' titles and subtitles.

To Create a Book Web Site

I've become a big believer in having a Web site for every book. Over the past few years, the media's tenuous question of "Is there a Web site for the book, by any chance?" has morphed into a matter-of-fact, "What's the book's URL?" Books without Web addresses have come to be regarded with as much suspicion and bewilderment as -- well -- as adults without phone numbers.

· So I've been insisting that my clients, and all other authors and publishers with whom I network, that they create Web sites for their books. The response from most of these people is, "Well, fine. Just tell me what needs to go on my Web site."

That question puts me into a strange situation, since I'm not a Web site designer. But, as a book promotion specialist, I can suggest to authors and publishers that these would be the ideal components of a book's Web site:

· A home page that includes descriptive content and a book cover (an author's photo might be nice, too, if the Web designer can fit it in).

· An excerpt

· Original bylined articles or other content (if book you're promoting is nonfiction)

· Online buying links (either to Amazon.com or BN.com, or both)

· Media page with a downloadable media kit, book cover, and author photos (both black-and-white and color)

· Guestbook

· Blog (you can get started for free at www.blogger.com)

· Sign-up page with opt-in mailing list manager

If you’re building your site in stages (and many authors and publishers do), then it's best to include whichever components your Web designer can create the most quickly. For many people, that's the home page, media page, and online buying links.

I have one more recommendation about building a Web site for books, and don't shoot the messenger, please. I'm sure your son/daughter/nephew/niece/neighbor/friend's child is as cute as punch and even more talented than Picasso, but he or she will not have the ability to design a high-quality site for your book. In fact, the high school/college student may do more harm than good, because whatever he/she creates, the search engines are bound to find -- and that Web site, with all its rough edges, is going to reflect how the media and potential buyers see your book.

Don't let your book pay the price because you'd rather not invest in a "real" Web site for your book. Yes, I twist arms to get people to realize that they need Web sites for their books. But I ask...no, I beg...people to realize that a Web site designed by a nonprofessional young person is worse than no Web site at all.

Does Book Promotion Increase Book Sales?

Does book promotion increase book sales? Probably. But should you hire a book publicist only for the purpose of increasing book sales? Probably not.

Here's why. A book promotion specialist doesn't sell books. He or she arranges media interviews, book reviews, article placements, search engine maximization, and the like. This raises the visibility of your book and your Web site. That may drive book sales, and it usually does. But, when it does, that's a great benefit of book promotion, but your book publicist will hope and trust it's not the only benefit you are receiving from the campaign.

Your book publicist will assume that you are promoting your book to disseminate your messages to as many people as possible. That's why you want to be on the air, and that's why you want to be quoted as an expert in newspaper and magazine articles, and that's why you want people to find your site through Google and other search engines. You have something to say, and your book is one outlet for saying it; the mass media provides additional venues for you to spread your messages.

In addition, many authors believe their visibility in the media will lead to great opportunities such as offers from corporations (perhaps speaking engagements or endorsement projects), additional clients or customers, or enhanced credibility in the professional world. This is usually what happens.

You benefit from media appearances in a myriad of ways. Book sales, when and if they happen, are a wonderful fringe benefit of your book promotion campaign. But they can't be the only reason why you hire a book promotion specialist.

An author from a mainstream publishing house was recently in discussions with me about promoting her book. She thought my book promotion plan looked great. Finally, she wanted to know how many books it would sell. I was taken aback by the question.

Another book publicist might have taken a guess and added a disclaimer such as "but no one really knows for sure." However, I opted to tell the author the whole truth which was that book sales weren't my area of expertise, and therefore, I had no idea of what number to give her. I could guess how many radio interviews I might be able to arrange for her (and that would only be a guess, because it's impossible to predict how radio show producers will respond to a particular pitch). But I couldn't make even a wild guess about how many books she'd sell if she hired me.

I received her emailed response earlier today. She asked me for a referral to a book publicist whose focus was on selling books.

Of course, I responded that there's no such book publicist. Distributors and salespeople sell books. (In the case of her book, since she's working through a major publishing company, she can't even hire an independent distributor -- she'll have to put her complete faith in the capabilities of her publisher.) Book promotion specialists arrange media appearances and reviews.

What I could have done, I suppose, is refer her to a book promotion firm that's able to toss around figures and promises that come from nowhere and are utterly meaningless. However, I don't have the heart to do that.

No, I don't want her as a client, because her goals are not in line with what I can provide for her, and the last thing in the world I want is a disappointed client. But another thing I don't want is for a book publicity firm to take advantage of her by, basically, telling her what she wants to hear.

What would King Solomon do in this situation? Hmmm.

Children's Books: A Family Business

Since it's a legal holiday here in Massachusetts, I'm taking a twenty-second break from business to tell you about something cool that I just learned. Thacher Hurd is a children's book artist and author. If you know the name "Hurd," you probably associate it with Clement Hurd. Does the name sound familiar? It should, if you were ever a kid or knew anyone who was. Clement Hurd illustrated "Goodnight Moon" and, more importantly, "Runaway Bunny" (because I say it's more important, that's why!), those children book classics that were written by Margaret Wise Brown.

Writing and illustrating children's books is not a get-rich-quick scheme. Therefore, there's something wonderful about the fact that there's another generation in the Hurd family who's willing to throw his talent and skill into the pool, and take his chances on trying to change children's lives for the better.

I don't know Thacher Hurd personally, and I've never represented his work, but I'd urge you to take a look at his Web site and see what he's up to. Click here if you're curious and then -- well, have a carrot.

Warning About National Television Shows

I'm using this space to vent. This relates to book promotion, but it's about more than book promotion. It's also about having a bad day.

Okay. More than a week ago, I scheduled an interview with a client (let's call the client "Amy") on a national television show for this Saturday morning (let's call the national television show "Early Talk about Today's America"). It was exciting.

This morning, Amy was on a plane from the west coast to New York. I called the producer at the "Early Talk About Today's America" program to confirm the interview. The producer confirmed the interview but explained that the segment had been handed off to another producer. That producer would call me back.

When that producer (let's call her "Beth") called me back, she said she first wanted to confirm that Amy was bringing her dog onto the show. I said, no, Amy was not bringing her dog onto the show. Beth then asked whether I could just call Amy and let her know they needed her dog to be on the show with her. I told her -- three times, before the message sank in -- that Amy was currently on an airplane to New York without her dog, and therefore, no, there'd be no way to ask Amy to bring her dog with her to the show.

Whereupon Beth asked me to ask Amy to find them another dog who could be on tomorrow morning's live TV segment. I called Amy's husband, who didn't go along with Amy, and Amy's husband told me that he knew of no dog. Then Beth told me to find a dog. I'll quote her here, pretty exactly: "Find us a dog. We need a dog. Call shelters. Get us a dog."

I was nice. I simply told her that, with fewer than 24 hours' notice, it was unlikely that I could find a dog (and its obliging human) in New York who could come to the studio first thing in the morning. I also reminded her that we'd booked the interview more than a week ago, and no mention had been made of a dog then. I concluded with the sad message that I wasn't getting her a dog, and my client wasn't getting her a dog.

Then I hung up the phone, put my head down on my desk, and did the right thing: I started networking with every dog person I could think of. I'm a cat person, but yes, I know dog people, too. While I was calling everyone on the planet, Beth checked in to let me know that they'd found a shelter in the area that would lend them two dogs.

The host of the show will mention, at the end of the segment, that both dogs are available for adoption. That eases my conscience a little bit (the thought of "borrowing" two dogs from a shelter, stressing them out, and then returning them to the shelter to live out their final days was a highly uncool one to me, and I'm sure it would have been to Amy, too, if she'd been in the loop for any of this).

So the segment is on for tomorrow. Despite everything, the show will go on.

But I want to reinforce something that I told Amy when we booked the interview. The segment isn't confirmed, for real, until it airs. That's true of any interview you schedule, with any medium, but it's particularly true of national television show interviews.

National television show producers mean well. They're bright. They're fun. They're talented. They're creative.

But, oh! They can be flakes.

And us? We are left, staring at the cereal bowls, hoping to find a quart of milk.

Or something like that.

It's been a long, hard day.

Mayor McBook Promotion

Here's another book promotion idea: challenge a major company, such as McDonald's, and reap the benefit in media coverage. Here's a book that was designed to do just that: "Chew on This: Everything You Don't Want To Know About Fast Food", to be published by Houghton Mifflin. And what you really have to love about the book -- other than the fact that it's so "in your face" that the cheeseburger pundits simply have to respond to it -- is that it's aimed at young children whose lifelong dietary choices really can be changed.

For more on the story of "Chew on This," check out this Chicago Tribune article. And then, next time you're choosing a topic for a book, think about which company you'd like to mix it up with in public. And then, if your lawyers are willing, go for it.

It Must Be Nice...

It must be nice to have your own newspaper column when you're promoting a book. Here's what you can do with it.

Scott E. Williams, a Galveston Daily News reporter, uses his April 9, 2006 article to plug an upcoming book signing and the aforementioned book itself, as well as two books he's previously penned. Check this out.

Reporters who use their columns to plug their books are no different from, say, psychic/medium John Edward who once used an episode of his television show, "Crossing Over," to promote one of his books (sorry, John, but I've since forgotten the title).

Media personalities should take advantage of their access to the public to promote their books, but subtlety is the key here. I don't want to know you're selling me your book, necessarily, during each of the moments I spend reading your newspaper column or watching your television show.

Plug your book once, I'll consider buying it. Make me WEAR your book, and I'm not so sure that I'm a prospective book buyer any longer.

The Borg Said It Best.

Resistance is futile (or fyoo-tile, as Captain Picard put it). So why is Barnes and Noble resisting the Sony Reader?

According to a Marketwatch article, Borders is getting ready to sell the e-book reader at 200 of its U.S. stores. Barnes and Noble, however, is underwhelmed by the potential of the Reader and doesn't see it as a major breakthrough for e-books.

Sounds to me as though Barnes and Noble has seen too many promises, from too many people, about e-book readers that will revolutionize how we read books. And yet, when you see what people are bringing to the beach, it always turns out to be a plain, old-fashioned book.

So many predictions. So many devices. So many hopes for e-book publishers.

Who's right: Barnes and Noble, or Borders? Will the future be books, or will it be bytes?

Stay tuned.

Blogs as Book Promotion Tools.

If you can't get the New York Times to do a story about your book, perhaps you can get them to cpver your blog. Bogging is the book promotion technique that blogcritics.org recommends in this post titled, "New York Times Lists Blog Entries For Hugh Hewitt's Blog."

I haven't had extensive experience with blogging as it relates to book publicity -- yet -- but I will say that blogging is a good idea for authors. Why not give search engines another reason to pick up your name and the title of your book? And why not provide potential readers with additional reasons to buy your book? And, of course, why not let the media and bookstores find you (and your work) online as easily as possible?

If you're Hugh Hewitt, and you have millions of visitors to each of your blog entries, even better. But, for ordinary mortals, blogging still is a grear addition to having a book Web site. And the price (even when you include the time commitment involved) is right.

Books for CEOs

What's a CEO supposed to do if he or she wants a book to use as a calling card but lacks a book? At least one "turnkey solution" publisher says that having a book isn't a huge stumbling block. Milli Brown of Brown Book Publishing Group in Dallas heads of team of freelancers who, according to an article in the Houston Daily Business News, produce books for CEOs. All the necessary services are included: ghostwriting, editing, printing, warehousing, distribution, and more. Brown calls this "relationship publishing." I call it clever.

I've yet to see any of Brown Book Publishing Group's books, so I can't endorse the company. But I think their model is a good one, and if you're a CEO or entrepreneur who's in need of a book . . . you could do worse than take a look at Brown Book Publishing Group and see what they offer.

No promotion at all.

I've just read a Newsweek article about one of my favorite children's book novelists, Beverly Cleary (author of the Henry Huggins books, the Ramona and Beezus books, and more). Ms. Cleary, a Newbery Award-winning author, has sold more than 91 million copies of her books. By comparison, J. K. Rowling as sold 120 million copies of "Harry Potter." That's not a huge numerical difference, is it?

So what's the major difference between Cleary and Rowling? Visibility. Cleary has chosen to keep a low profile while Rowling has not.

Has her failure to appear in media outlets around the world hurt the sales of Cleary's books? Somehow, I doubt it.

But does reading the Newsweek article make me want to go to a bookstore right now, in the middle of the workday, to pick up a few "Ramona" books to add to my collection? Yes, it does. (I'll resist the temptation for now, but I make no promises about what I'll do after six o'clock tonight.)

If you're a fellow Cleary fan, you'll be interested to know that Ms. Cleary is about to turn 90 years old. Good for her.

Good for us.

Many Happy Returns?

According to a recent New York Times article, between one-half and three-quarters of the hardcover literary novels that mainstream houses sell to bookstores are returned to the publisher. Even the most prestigious houses, such as Random House, aren't exempt from the rule. Literary novels are a tough sell. They're tough to promote. And if that's the case for the best-known authors, can you imagine what it's like for unestablished (or even self-published or print-on-demand) novelists?

One way to solve the problem, according to the NYT's article, is to publish original trade paperback editions of literary novels. Trade paperback editions sell better than do hardcover novels because they're less expensive.

And yet ... will book reviewers even consider trade paperback editions as they wade through the stacks of worthy candidates? To be determined . . .

It Takes Books to Promote Books

There are times when authors send out review copies of their books to media decision makers, and those books wind up on an auction Web site or in an online second-hand bookstore. That's unfortunate. I wish all producers and journalists -- and all people -- were honest. I wish they'd donate the extra review copies of books to library book sales, hospitals, and prisons.

Then again, I wish I were Irish today so that I could fully get into the spirit of St. Patrick's Day.

In other words, don't check the search engines incessantly to track the final dispensation of the books you've sent to the media. Some will wind up being re-sold. Some will end up donated to charities. Some will become gifts for talk show callers who guess the right answers to trivia questions. And some will become part of the personal libraries of book reviewers.

Yes, I know that books cost you money, and when you send out books in good faith to producers and journalists, you'd like to 1) score an interview or review an 2) see the books end up somewhere other than on eBay or American Book Exchange's Web site.

Unfortunately, you can't control the destiny of review copies of books -- nor can you get media visibility for your book without sending out books to the media. So consider those mailings as part of the cost of doing business, and don't dwell on the obvious fact that some people are using your book to make a couple of undeserved dollars.

If you spend your time positively, and let the books go once they're out of your hands, you'll enjoy your book promotion campaign far more than if you dwell on whether your books might be falling into the wrong hands. Do find qualified media decision makers who are supposed to receive review copies of your books (they're available from commercial media lists, via phone calls to media outlets, and on their Web sites). But, if you've been diligent about choosing the right producers and journalists to pitch your book to, then just remember it takes books to promote books . . . and don't sweat the small ripoffs. It just isn't worth it.

Autographs--Sort Of

Well, look at what one of my favorite novelists is up to. Margaret Atwood doesn't want to disappoint her legions of fans, so she's transformed book signings (which would only please handfuls of her fans) into electronic exchanges (which, she presumably thinks, would please the rest of us).

Not so, Margaret. I love your work, but not enough to accept a digital signature fron you (or anyone) instead of a real one. Come to think of it, I wasn't all that interested in getting your autograph, anyway, but I do take the old-fashioned stance that one's signature should written rather than beamed across the planet through whatever technology might be available.

However, I do admire Margaret's creative spirit enough to share CNN.com's article about her LongPen. Read all about it, and see what you think.

Book Promotion in Reverse

Is there such a thing as a reverse book promotion campaign? That is, does it ever make sense for some authors to strive to not get publicity for a book, and to turn away any book promotion that you might get?

An article in The American Daily asserts that John Kerry turned down publicity for his book, The Winter Soldiers Investigations, when he ran for president. The article also puts forth that Kerry refused permission for his book to be reprinted -- presumably, so potential voters wouldn't read it and, on the basis of doing so, decide not to vote for him.

I'd have to do some independent research into the article's claim to see whether or not it holds water. In the meantime, I'm left to ponder the question of how book publicity -- and book sales -- could be of harm. Well, okay. I guess my clients should have such problems. . . . .

Did You Cut-and-Paste Your Novel's Plot?

If the storyline of your novel bears an unhealthy resemblance to another author's work, then a book promotion campaign could land you in court for plagarism. That's what this article suggests.

Call me skeptical, but I doubt that anyone is purposely ripping off anyone else's work. You know the old saw about all those monkeys and all those typewriters . . . well, that's probably the way two writers's works wind up with the same plot points once in awhile.

Does that warrant a lawsuit? No, I don't think so. It would be a shame to miss such thought-provoking reads as "The Da Vinci Code" just because some other author/researcher had developed a similar theory about something that happened two thousand years ago to the one Dan Brown came up with.

Writers, writers. Can't you all just try to get along with each other?

Banning as Book Promotion?

At first, I was a bit chagrined to see that the Vista San Gabriel Elementary School library in Southern California had banned Clifford the Big Red Dog.

Actually, they've banned three bilingual versions of the book. Which might be a good thing. After all, who knows what dangerous concepts an evil translator might have slipped into the plot. Maybe, in the banned versions, Clifford refuses to become housebroken. Or maybe he barks at cats without provocation. Dastardly, but who knows? It could be true.

Okay. Clifford is probably innocent of wrongdoing, as is Harry Potter, who -- as you might have guessed -- was also banned from the Vista San Gabriel Elementary School library.

But perhaps there's a mitigating factor here. A banned book scores instant visibility. So maybe having your book banned is one of the best book promotion strategies you can employ. At least, that's what I'm telling myself this morning after reading this.

Is This Book on Your Reading List?

I've just added it to mine. It's "How to Write & Publish Your Own Book: From Conception to Book Store in 90 Days" by self-published author Kathleen Mailer. I'm not Kathleen's book promotion specialist and, in fact, we've never met. Nor do I get a cut of her book sales. However, according to this article, she pre-sold 80,000 copies of her book. Yes, I'm impressed. If you are, too, you can read about the book here. Just thought it was worth passing along.

Digital Books -- Again.

Maybe, one day, we'll get digital books figured out. There's an MSNBC story today that suggests we may already have done so. Maybe.

But the challenge for a book publicist is this: how would you promote a digital book? Would you send a hyperlink to producers and editors, and suggest that they click on the book -- and that will be their review copy? Or do you burn the book onto a CD and then distribute review copies of the CD? Or do you produce a short-run of "real" books, send them off to the media as review copies, and then go on to sell only the digital books?

Maybe publishers have figured out everything they need to know about digital books, and maybe readers are onto the truth about digital books, too.

But book promotion specialists -- or this one, anyway -- is still pondering the perplexities of publicizing digital books. It's a challenge I'll looking forward to meeting, eagerly and with a bit of trepidation.