Yes, he's an ex-president. But I probably wouldn't have heard a word about Jimmy Carter's new book, Palestine Peace Not Apartheid, if Carter hadn't refused to debate an ever-controversial (and headlines-grabbing) figure: Alan Dershowitz.
As I understand it, Brandeis University invited Carter to speak about his book.
Dershowitz found out about the invitation and insisted the speaking engagement be changed to a debate. He, helpfully, offered to serve as Carter's sparring partner. Ultimately, Brandeis University declined Dershowitz's generous offer. Carter then faced the stage by himself -- and enjoyed more media coverage (including this Boston Globe article) than he ever could have imagined.
So here's a book promotion reminder for today: if you want people to find out about your book, find a controversial news hook, and hang your book publicity campaign on that peg. Or, if you don't have time for all that, then just find a way to get Alan Dershowitz's dander up. Or find another opponent whose wrath can buy you instant access to the limelight.
If you can manage that, then the media will follow you everywhere. Then your book publicity campaign will take care of itself.
Thursday, January 25, 2007
Wednesday, January 24, 2007
Book Promotion Advice from Another Pro
In her blog, Fern Reiss offers book promotion tips that are worth checking out. I have a comment to offer about one of her book promotion tips, though. While Fern suggests that you include other sources in your story pitch to the media, I have experienced some unexpected consequences with taking that approach. I've even taken heat when I've implied that more than one expert is part of the "package" I'm pitching.
Here's a very recent example. Last week, I mentioned in a media pitch that a client's book had been endorsed by Rudy Giuliani. A producer sent me an email requesting an interview with -- not my author, but Giuliani. That wasn't unreasonable, since I had established a connection between my client and Giuliani, but still ... I had my client to offer, and that was all. When I told the producer that in my emailed response, I didn't hear back from him.
Many of my clients hire a publicist because they aren't yet famous. Therefore, I try to position them as the sole experts in my pitches. If I were to tie their names into other, more famous personalities ... it would be easy for the media to make a decision about which person is more newsworthy and deserving of an interview.
So, while I agree with Fern -- it's great to offer journalists a package when pitching story ideas -- I take a slightly different approach in creating that package. I always bear in mind that the goal is book promotion, and the strategy is to feature my client as the expert. Instead of offering other experts to the media, I suggest non-experts to round out a panel. These are lay people who might potentially be on "Oprah's" panel, and who can benefit from the advice of an expert -- and, hopefully, my client will be that expert.
And, hopefully, the media outlet in question will give the expert more than 10 seconds at the end of the last segment to speak as the credits are rolling.
Here's a very recent example. Last week, I mentioned in a media pitch that a client's book had been endorsed by Rudy Giuliani. A producer sent me an email requesting an interview with -- not my author, but Giuliani. That wasn't unreasonable, since I had established a connection between my client and Giuliani, but still ... I had my client to offer, and that was all. When I told the producer that in my emailed response, I didn't hear back from him.
Many of my clients hire a publicist because they aren't yet famous. Therefore, I try to position them as the sole experts in my pitches. If I were to tie their names into other, more famous personalities ... it would be easy for the media to make a decision about which person is more newsworthy and deserving of an interview.
So, while I agree with Fern -- it's great to offer journalists a package when pitching story ideas -- I take a slightly different approach in creating that package. I always bear in mind that the goal is book promotion, and the strategy is to feature my client as the expert. Instead of offering other experts to the media, I suggest non-experts to round out a panel. These are lay people who might potentially be on "Oprah's" panel, and who can benefit from the advice of an expert -- and, hopefully, my client will be that expert.
And, hopefully, the media outlet in question will give the expert more than 10 seconds at the end of the last segment to speak as the credits are rolling.
Tuesday, January 23, 2007
Is TV really dead?
We're hearing so much about the "sexy" media these days: YouTube, iPods, MySpace ... and the question here is: is book promotion about focusing exclusively on the latest, emerging media venues, or is it still about scoring traditional media hits?
In other words, is TV dead? Or does book promotion mean proceeding as though nothing has changed, and pitching your story idea to book review editors, and television and radio producers, and seeing what book publicity opportunities you can shake loose?
So many authors are coming to me these days with great trepidation about the death of TV, and they're nervous because, no, they're not watching YouTube and they're not glued to their iPods -- but they're convinced their potential readers are. I can hear the panic in their voices as they postulate that the media outlets they know and understand are dead or dying, and they must find another book promotion avenue instead.
Well, I'm not buying it, and neither is Geoff Colvin, editor-at-large of Fortune Magazine. In his article, "TV Is Dying? Long Live TV!," Colvin explains that the Web is actually increasing television's audience. "Despite (or because of) the Web, we watch more television than ever," he puts forth. Although we have a staggering number of alternatives to television, most potential book buyers -- and most media consumers in general -- are still watching more television than ever before.
That means, while a smart book promotion campaign (and an effective book publicist) will include online tactics, the traditional approaches to the tried-and-true media outlets must be part of the equation. You can publish your press release online, but you still have to pitch the producers of "Oprah" and "Good Morning America." You can upload your book trailer to YouTube, but you still have to let the editors at USA Today and The Wall Street Journal see the value in your story. You can join the social networking sites, but you still have to tell National Public Radio and Westwood One Broadcasting that they'd be remiss if they didn't invite you on to share your perspective, and your expertise, with their listeners.
New book promotion opportunities arise every day, and it's critical that we follow the changes and eagerly approach the next "big thing" in the media as it reveals itself. But a book publicity campaign that assumes television, radio, newspapers, and magazines are irrelevant isn't a book publicity campaign at all -- at least, in 2007, and for the forseeable future.
In other words, is TV dead? Or does book promotion mean proceeding as though nothing has changed, and pitching your story idea to book review editors, and television and radio producers, and seeing what book publicity opportunities you can shake loose?
So many authors are coming to me these days with great trepidation about the death of TV, and they're nervous because, no, they're not watching YouTube and they're not glued to their iPods -- but they're convinced their potential readers are. I can hear the panic in their voices as they postulate that the media outlets they know and understand are dead or dying, and they must find another book promotion avenue instead.
Well, I'm not buying it, and neither is Geoff Colvin, editor-at-large of Fortune Magazine. In his article, "TV Is Dying? Long Live TV!," Colvin explains that the Web is actually increasing television's audience. "Despite (or because of) the Web, we watch more television than ever," he puts forth. Although we have a staggering number of alternatives to television, most potential book buyers -- and most media consumers in general -- are still watching more television than ever before.
That means, while a smart book promotion campaign (and an effective book publicist) will include online tactics, the traditional approaches to the tried-and-true media outlets must be part of the equation. You can publish your press release online, but you still have to pitch the producers of "Oprah" and "Good Morning America." You can upload your book trailer to YouTube, but you still have to let the editors at USA Today and The Wall Street Journal see the value in your story. You can join the social networking sites, but you still have to tell National Public Radio and Westwood One Broadcasting that they'd be remiss if they didn't invite you on to share your perspective, and your expertise, with their listeners.
New book promotion opportunities arise every day, and it's critical that we follow the changes and eagerly approach the next "big thing" in the media as it reveals itself. But a book publicity campaign that assumes television, radio, newspapers, and magazines are irrelevant isn't a book publicity campaign at all -- at least, in 2007, and for the forseeable future.
Here's how to get some decent book promotion opportunities.
Here's how to get some decent book promotion opportunities: be six years old, be altruistic, be smart, and be articulate. And have an authentic fondness for teddy bears and the infirm.
You will find the media beating a path to your door.
Yes, Caitlin Ede Holmes of Ashburn, Georgia is an amazing little girl. And, yes, she does make for an interesting feature story (read about Caitlin here).
I'm just wondering. What can we learn from the media attention Caitlin has been scoring? Be kind. Be caring. Be cute.
And be six years old.
Ah, if only you could bottle it and sell it as a book promotion toolkit.
You will find the media beating a path to your door.
Yes, Caitlin Ede Holmes of Ashburn, Georgia is an amazing little girl. And, yes, she does make for an interesting feature story (read about Caitlin here).
I'm just wondering. What can we learn from the media attention Caitlin has been scoring? Be kind. Be caring. Be cute.
And be six years old.
Ah, if only you could bottle it and sell it as a book promotion toolkit.
Saturday, January 20, 2007
Book Promotion via Social Networking Sites
Are social networking sites part of a 2007 book promotion campaign? Sounds reasonable. Everyone who's anyone has a MySpace account.
I say that with the confidence and glee of someone who has just set up a MySpace account. Visit it at by clicking here.
Granted, I'm not so hot at HTML manipulation, but I figure that I'm educable. More importantly, I do understand the concept of real-world networking and am starting to see how it might carry over into the avenue of real-world book publicity.
Okay, so everyone who's launching a book promotion campaign still wants to be a guest on "Oprah." But isn't it reasonable for every author to want to find readers online? And if joining social networks such as MySpace are going to make the book promotion task easier, than isn't it reasonable to start making social networking part of every book publicity campaign?
I think so. But, then again, I'm still learning.
I say that with the confidence and glee of someone who has just set up a MySpace account. Visit it at by clicking here.
Granted, I'm not so hot at HTML manipulation, but I figure that I'm educable. More importantly, I do understand the concept of real-world networking and am starting to see how it might carry over into the avenue of real-world book publicity.
Okay, so everyone who's launching a book promotion campaign still wants to be a guest on "Oprah." But isn't it reasonable for every author to want to find readers online? And if joining social networks such as MySpace are going to make the book promotion task easier, than isn't it reasonable to start making social networking part of every book publicity campaign?
I think so. But, then again, I'm still learning.
Thursday, January 18, 2007
A Book Promotion Tip
Here's my book promotion tip of the day (with apologies to Robert Herrick): Gather ye interviews while ye may.
If a producer or a reporter wants to set up an interview, be there and be quick to close the deal. Any hesitation on your part ("My calendar isn't in front of me; I'll have to call you back when I get to my office" or "I promised to pick my daughter and her friends up from the movie at that time; can we schedule an interview for another time?"), and the opportunity could go south.
Sure, you can try to get in touch with producers and reporters afterwards. They have email accounts and phone numbers. The problem is that, when you don't catch them at the right moment -- when their interest is the hottest -- then you may not be able to rekindle that interest later on. They may have moved onto the next appealing guest suggestion, or they may have categorized you as someone who would be too time-consuming to work with to make it worth their while.
Persistence may help you score an interview opportunity even if you've hesitated. However, far better than participating in games of phone tag is the ability to provide an instant "yes" when the phone rings, or when an email arrives, with an interview invitation for you. To the extent that book promotion can be your priority -- at least, for a particular block of time -- your campaign will be more successful than if you're spreading yourself thinly and moving in various directions at the same time.
Say yes, and you'll score the interview. Say maybe, and you probably won't. More and more, I'm finding that it's just that simple.
If a producer or a reporter wants to set up an interview, be there and be quick to close the deal. Any hesitation on your part ("My calendar isn't in front of me; I'll have to call you back when I get to my office" or "I promised to pick my daughter and her friends up from the movie at that time; can we schedule an interview for another time?"), and the opportunity could go south.
Sure, you can try to get in touch with producers and reporters afterwards. They have email accounts and phone numbers. The problem is that, when you don't catch them at the right moment -- when their interest is the hottest -- then you may not be able to rekindle that interest later on. They may have moved onto the next appealing guest suggestion, or they may have categorized you as someone who would be too time-consuming to work with to make it worth their while.
Persistence may help you score an interview opportunity even if you've hesitated. However, far better than participating in games of phone tag is the ability to provide an instant "yes" when the phone rings, or when an email arrives, with an interview invitation for you. To the extent that book promotion can be your priority -- at least, for a particular block of time -- your campaign will be more successful than if you're spreading yourself thinly and moving in various directions at the same time.
Say yes, and you'll score the interview. Say maybe, and you probably won't. More and more, I'm finding that it's just that simple.
Tuesday, January 16, 2007
Book Promotion for P.O.D. Titles
As a book publicist, I would say that nearly every book -- whether it's published through a mainstream publisher, self-published, or via a print-on-demand company -- has media potential. But if you've used a P.O.D. company to publish your book, you're probably on a tighter budget than if you chose to self-publish your book instead. Therefore, you might want to consider some of the free, or nearly free, book promotion ideas that Yvonne Perry cites in her Writers in the Sky blog.
Is it possible to interest a book promotion specialist in representing, say, an iUniverse book? Certainly. We have lower-cost book promotion campaigns that are tailored to authors who are on a tighter budget. But book promotion specialists can't work for free. If you're looking for a low-cost alternative to hiring a book publicist, you might want to check out my affiliate site, Book Promotion Tools, for a product that will let you pitch your books to the media without using a book promotion specialist as a go-between.
I would join Yvonne Perry in suggesting that, however you pitch your story idea to the media, you pitch it as often as you can afford. Book promotion is a numbers game. The greater number of pitches you throw out there, the greater the number of positive responses you will receive.
Your P.O.D. title might never make the New York Times bestseller list because, for it to do that, it would have to be available on the shelves of bookstores that report to the list. But that's not to say that your book can't sell a respectable number of copies. Adjust your goals to fit the style of publishing you've chosen, and adapt your book promotion plans to fit your budget, and your project can be a success.
Is it possible to interest a book promotion specialist in representing, say, an iUniverse book? Certainly. We have lower-cost book promotion campaigns that are tailored to authors who are on a tighter budget. But book promotion specialists can't work for free. If you're looking for a low-cost alternative to hiring a book publicist, you might want to check out my affiliate site, Book Promotion Tools, for a product that will let you pitch your books to the media without using a book promotion specialist as a go-between.
I would join Yvonne Perry in suggesting that, however you pitch your story idea to the media, you pitch it as often as you can afford. Book promotion is a numbers game. The greater number of pitches you throw out there, the greater the number of positive responses you will receive.
Your P.O.D. title might never make the New York Times bestseller list because, for it to do that, it would have to be available on the shelves of bookstores that report to the list. But that's not to say that your book can't sell a respectable number of copies. Adjust your goals to fit the style of publishing you've chosen, and adapt your book promotion plans to fit your budget, and your project can be a success.
Saturday, January 13, 2007
Book Promotion Question and Answer
Here's a request that I frequently hear, and -- in the interest of saving time (mine and, potentially, yours) -- I'll share it here, along with my response.
Q. I'm in the process of writing a book. Someone suggested that I look into hiring a book publicist before I bring my manuscript to publishers. Having a publicist lined up and ready to go will make my book more appealing to publishers, or at least that's what I've been told. So ... okay. I'm not sure what book promotion is, but if your proposal might help me sell my book, then please send it to me as soon as possible. I'll need for you to explain what book promotion is and what book publicists charge. Thank you.
A. I do appreciate your interest in my services, and I wish you well with your project. Unfortunately, I can't provide you with a proposal for book promotion until you're a lot closer to needing a book publicist. I simply can't commit to promoting a book that I haven't seen, and you wouldn't want to work with any book publicist who would. Also, since neither you nor I know when your book will be published, I have no way to know whether or not I'll have a slot in my schedule to take on another client when the time comes.
Second of all, my proposals do not serve as primers for those who don't know anything about book promotion but rather to help you compare how my approach, and my fees, compare with those of other book publicists. In order for my book promotion proposal to have any value to you, you'll need a solid understanding of what book promotion is and, of course, what it isn't (book promotion is very specific and does not include book sales, book marketing, or book distribution). You'll have to glean that knowledge the old-fashioned way -- through research.
Finally, I think you've been getting bad advice about the timing of approaching book publicists. It would be a very bad idea to hire a book publicist at this stage of your book project. Let's say that I did create a book promotion plan for you, and that you integrated my plan into your book proposal -- and your book were accepted by a publishing house. That could be an expensive mistake. I understand that you're tempted to think that commiting to a book publicist now might entice a publisher to buy your book. However, that approach could backfire. Few publishers would turn down the opportunity to have their authors pay for their own book promotion -- but book promotion is something that many publishers ordinarily do pay for, to a greater or lesser extent. Some publishers have been known to provide their authors with very generous and effective book promotion campaigns. Other publishers at least contribute something to the cost of promoting the books they publish -- but only if you haven't already promised to pay instead.
In short, I'd truly like to be considered as your book publicist once you have a manuscript, and once you have a publisher (or have a self-publishing plan in place). I'd be happy to hear from you at that time and to provide you with a book promotion plan. Thank you, and again, best of luck.
Q. I'm in the process of writing a book. Someone suggested that I look into hiring a book publicist before I bring my manuscript to publishers. Having a publicist lined up and ready to go will make my book more appealing to publishers, or at least that's what I've been told. So ... okay. I'm not sure what book promotion is, but if your proposal might help me sell my book, then please send it to me as soon as possible. I'll need for you to explain what book promotion is and what book publicists charge. Thank you.
A. I do appreciate your interest in my services, and I wish you well with your project. Unfortunately, I can't provide you with a proposal for book promotion until you're a lot closer to needing a book publicist. I simply can't commit to promoting a book that I haven't seen, and you wouldn't want to work with any book publicist who would. Also, since neither you nor I know when your book will be published, I have no way to know whether or not I'll have a slot in my schedule to take on another client when the time comes.
Second of all, my proposals do not serve as primers for those who don't know anything about book promotion but rather to help you compare how my approach, and my fees, compare with those of other book publicists. In order for my book promotion proposal to have any value to you, you'll need a solid understanding of what book promotion is and, of course, what it isn't (book promotion is very specific and does not include book sales, book marketing, or book distribution). You'll have to glean that knowledge the old-fashioned way -- through research.
Finally, I think you've been getting bad advice about the timing of approaching book publicists. It would be a very bad idea to hire a book publicist at this stage of your book project. Let's say that I did create a book promotion plan for you, and that you integrated my plan into your book proposal -- and your book were accepted by a publishing house. That could be an expensive mistake. I understand that you're tempted to think that commiting to a book publicist now might entice a publisher to buy your book. However, that approach could backfire. Few publishers would turn down the opportunity to have their authors pay for their own book promotion -- but book promotion is something that many publishers ordinarily do pay for, to a greater or lesser extent. Some publishers have been known to provide their authors with very generous and effective book promotion campaigns. Other publishers at least contribute something to the cost of promoting the books they publish -- but only if you haven't already promised to pay instead.
In short, I'd truly like to be considered as your book publicist once you have a manuscript, and once you have a publisher (or have a self-publishing plan in place). I'd be happy to hear from you at that time and to provide you with a book promotion plan. Thank you, and again, best of luck.
Friday, January 05, 2007
Book Promotion Focus at Libraries?
Maybe your book publicity efforts should focus on libraries. If your instinct is that your book belongs on library shelves, you could be right. Lisa Rein, who writes for the Washington Post, points out in a recent article called "Hello, Grisham -- So Long, Hemingway?" that libraries are casting aside classic books to make room for more popular, and more modern, titles. With limited shelf space (yes, libraries apparently do have the same shelf-space issues as bookstores) and tight budgets, it's only fair to focus on what taxpayers and readers want.
That could be your book.
Therefore, that could be good news.
And, besides, this book publicist was never a huge Hemingway fan, anyway. Well, okay, maybe I enjoyed two or three of his novels, but ....
Okay, I would rather see snow in New England this weekend than see my local library -- or any library -- toss out the classics. Still, from a book publicity standpoint, the trend toward buying and retaining what sells does raise some interesting possibilities. If Hemingway's books go in the landfill, there will be some extra space on the shelf. And, hey, some books will have to fill in the gap. Maybe those books will be yours.
That could be your book.
Therefore, that could be good news.
And, besides, this book publicist was never a huge Hemingway fan, anyway. Well, okay, maybe I enjoyed two or three of his novels, but ....
Okay, I would rather see snow in New England this weekend than see my local library -- or any library -- toss out the classics. Still, from a book publicity standpoint, the trend toward buying and retaining what sells does raise some interesting possibilities. If Hemingway's books go in the landfill, there will be some extra space on the shelf. And, hey, some books will have to fill in the gap. Maybe those books will be yours.
Tuesday, December 26, 2006
Book Promotion During the Holidays
Can you conduct an effective book promotion campaign during the holiday season? Maybe -- but it will take far more work to get book publicity during the last couple of weeks of December, and the first week of January, than it would during the rest of the year. You'll receive fewer responses from the media decision makers now than you typically would expect.
But does that mean that you shouldn't try? It depends on your tolerance for hard work, which is what book publicity campaigns require. If you don't mind making more phone calls, sending out more emails, and filling out more online forms to garner fewer book promotion opportunities, than go for it. You have the advantage of competing against fewer people than usual who are pitching producers and editors. Also, you have producers and editors with last-minute cancellations who might be inclined to cover your story, or grant you an interview, when ordinarily they wouldn't. On the other hand, the reason fewer people than usual are pitching during the holiday season is because fewer media decision makers than usual are at their posts, so it's a double-edged sword.
For those with a book to promote, think of the holidays as an opportunity to bond with people in the media who have the bad luck to be working now. Or, to those of us who work hard all year long pitching stories to the media, think of this as a good time to be working out a plan for approaching the media after the first of the year -- when newspapers, magazines, radio studios, and television studios are once again fully staffed and ready to go.
But does that mean that you shouldn't try? It depends on your tolerance for hard work, which is what book publicity campaigns require. If you don't mind making more phone calls, sending out more emails, and filling out more online forms to garner fewer book promotion opportunities, than go for it. You have the advantage of competing against fewer people than usual who are pitching producers and editors. Also, you have producers and editors with last-minute cancellations who might be inclined to cover your story, or grant you an interview, when ordinarily they wouldn't. On the other hand, the reason fewer people than usual are pitching during the holiday season is because fewer media decision makers than usual are at their posts, so it's a double-edged sword.
For those with a book to promote, think of the holidays as an opportunity to bond with people in the media who have the bad luck to be working now. Or, to those of us who work hard all year long pitching stories to the media, think of this as a good time to be working out a plan for approaching the media after the first of the year -- when newspapers, magazines, radio studios, and television studios are once again fully staffed and ready to go.
Friday, December 22, 2006
Book Promotion -- a 2006 Retrospective
Scandals. That's what book promotion was all about in 2006: scandals in the publishing industry. Check out the Newsweek article, "The Book Scandals: Can't We All Get a Life?, " by clicking here
Most of the publishing industry scandals cited in the article were free book promotion opportunities for the publishers and the authors. How many people had heard of Running with Scissors until everyone started buzzing about whether the autobiography were true or the bizarre (yet entertaining) imaginings of an advertising executive's mind?
But the scandals didn't result in book sales across the board. For example, the cancellation of O. J. Simpson's book didn't result in book sales because, of course, there wasn't any book to sell. It did result in the most media attention I've seen for any book in quite some time, but the book promotion didn't help anyone. Similarly, How Opal Mehta Got Kissed, Got Wild and Got a Life received way more than its fair share of book promotion opportunities, but where is the book now? Not in stores, unfortunately for its author and publisher.
The bottom line, I think, is that 2006 has taught us that scandal may be one way to garner book promotion opportunities. But book promotion opportunities are no guarantee of book sales. And, more importantly, those who participate -- willingly or unwillingly -- in book scandals rarely come away with their reputations and dignity intact.
Which would you rather have: a slot on a national TV show, or your soul? For me, that's a no-brainer. (Besides, there are other ways to get booked on a nation
Most of the publishing industry scandals cited in the article were free book promotion opportunities for the publishers and the authors. How many people had heard of Running with Scissors until everyone started buzzing about whether the autobiography were true or the bizarre (yet entertaining) imaginings of an advertising executive's mind?
But the scandals didn't result in book sales across the board. For example, the cancellation of O. J. Simpson's book didn't result in book sales because, of course, there wasn't any book to sell. It did result in the most media attention I've seen for any book in quite some time, but the book promotion didn't help anyone. Similarly, How Opal Mehta Got Kissed, Got Wild and Got a Life received way more than its fair share of book promotion opportunities, but where is the book now? Not in stores, unfortunately for its author and publisher.
The bottom line, I think, is that 2006 has taught us that scandal may be one way to garner book promotion opportunities. But book promotion opportunities are no guarantee of book sales. And, more importantly, those who participate -- willingly or unwillingly -- in book scandals rarely come away with their reputations and dignity intact.
Which would you rather have: a slot on a national TV show, or your soul? For me, that's a no-brainer. (Besides, there are other ways to get booked on a nation
Tuesday, November 21, 2006
Worst book promotion idea ever - part 2.
Well, have you ever seen the author of a cancelled book get so many opportunities to promote himself? Okay, so Fox News is off the table now. But how many times have you seen O.J. Simpson's face, and heard his voice, in the past 24 hours?
Hey, let's make a deal. Let's promise to not tell Simpson about iUniverse. The last thing we want is for that person to publish the book himself.
We know that opportunities for O.J. Simpson to promote this particular book, even if it doesn't carry its intended imprint, would be limitless. And, somehow, I don't believe his children would be the beneficiaries of book sales . . . nor do I think Ron or Nicole's other relatives would get a penny of the proceeds.
Yuck.
Hey, let's make a deal. Let's promise to not tell Simpson about iUniverse. The last thing we want is for that person to publish the book himself.
We know that opportunities for O.J. Simpson to promote this particular book, even if it doesn't carry its intended imprint, would be limitless. And, somehow, I don't believe his children would be the beneficiaries of book sales . . . nor do I think Ron or Nicole's other relatives would get a penny of the proceeds.
Yuck.
Friday, November 17, 2006
Worst book promotion idea ever.
Here's the worst way ever to get a publisher interested in your book and to get an unlimited amount of publicity to go along with it: murder a couple of people. We've just read a story that makes us feel even worse about the Simpson story. Click here to read about why a publisher decided to publish, and help promote, Simpson's new book.
On a personal note, I just scheduled an interview for a client on Fox News Channel for this weekend. I checked with my client first to see whether he wanted to appear on the network that's helping promote Simpson's new book. He's perfectly comfortable with it. I wish I could say the same.
On a personal note, I just scheduled an interview for a client on Fox News Channel for this weekend. I checked with my client first to see whether he wanted to appear on the network that's helping promote Simpson's new book. He's perfectly comfortable with it. I wish I could say the same.
Tuesday, November 07, 2006
Buying Book Promotion
Q. I am a self-published novelist. How can I buy the media's attention to increase book sales?
A. You can buy advertising in the various media, and that might help book sales if your self-published novel has a very targeted readership. You can also buy a small number of book reviews. The book reviews you pay for can help publishers in limited ways (for example, the small press buyer for one of the national bookstore chains insists on seeing book reviews), but they're not going to convince other media decisionmakers that they have to cover your book. Your book has to do that on its own.
Can you pay a national television or radio show host to interview you? No. Can you bribe a reviewer to review your book, or an editor to assign your book to a beat editor? Sorry.
If there's a news story behind your novel, then let the media know about it, and you'll get book promotion opportunities the old-fashioned way: by earning them. Pitch, persuade, and work, and you'll see book promotion opportunities come your way -- if your book is newsworthy. But, no, you can't "buy" book promotion opportunities. No book publicist can buy media placements, nor are book promotion specialists connected enough to cooerce major media outlets to provide media coverage of their clients' work. Books have to stand on their own and, unfortunately, there's no way to buy a guarantee of book promotion opportunities...at any price.
A. You can buy advertising in the various media, and that might help book sales if your self-published novel has a very targeted readership. You can also buy a small number of book reviews. The book reviews you pay for can help publishers in limited ways (for example, the small press buyer for one of the national bookstore chains insists on seeing book reviews), but they're not going to convince other media decisionmakers that they have to cover your book. Your book has to do that on its own.
Can you pay a national television or radio show host to interview you? No. Can you bribe a reviewer to review your book, or an editor to assign your book to a beat editor? Sorry.
If there's a news story behind your novel, then let the media know about it, and you'll get book promotion opportunities the old-fashioned way: by earning them. Pitch, persuade, and work, and you'll see book promotion opportunities come your way -- if your book is newsworthy. But, no, you can't "buy" book promotion opportunities. No book publicist can buy media placements, nor are book promotion specialists connected enough to cooerce major media outlets to provide media coverage of their clients' work. Books have to stand on their own and, unfortunately, there's no way to buy a guarantee of book promotion opportunities...at any price.
Wednesday, October 11, 2006
Wondering About Writing.
This book promotion specialist has wondered and worried about the future of writing -- handwriting, that is.
Since I learned to touch-type, when I was eight years old, I have been slowly forgetting how to use a pen. My muscle memory is getting less and less reliable when it comes to cursive writing. I don't even feel comfortable signing a check in public for fear that I won't be able to write my name legibly (or even accurately) under pressure.
I used to think that it was just me, but an article from MSNBC.com makes me wonder if cursive writing is becoming difficult for all of us -- and, maybe, besides the point for the young 'uns. According to the MSBNC.com article, children with poor handwriting skills frequently have poor composition skills. Their sentences may be shorter than they would be if whatever cognitive skills were involved with handwriting were more highly developed, according to some academics, and the scary thing is that I tend to believe them.
The demise of cursive doesn't only mean that today's great writers won't leave behind handwritten manuscripts for future generations. It also means that the whole process of writing has changed, and I'm wondering whether we're progressing -- or not.
Sure, handwriting is only tangentally relate to book promotion. Still, the consequences of the demise of handwriting are interesting for this book publicist to ponder.
Since I learned to touch-type, when I was eight years old, I have been slowly forgetting how to use a pen. My muscle memory is getting less and less reliable when it comes to cursive writing. I don't even feel comfortable signing a check in public for fear that I won't be able to write my name legibly (or even accurately) under pressure.
I used to think that it was just me, but an article from MSNBC.com makes me wonder if cursive writing is becoming difficult for all of us -- and, maybe, besides the point for the young 'uns. According to the MSBNC.com article, children with poor handwriting skills frequently have poor composition skills. Their sentences may be shorter than they would be if whatever cognitive skills were involved with handwriting were more highly developed, according to some academics, and the scary thing is that I tend to believe them.
The demise of cursive doesn't only mean that today's great writers won't leave behind handwritten manuscripts for future generations. It also means that the whole process of writing has changed, and I'm wondering whether we're progressing -- or not.
Sure, handwriting is only tangentally relate to book promotion. Still, the consequences of the demise of handwriting are interesting for this book publicist to ponder.
Friday, September 15, 2006
Keeping Up WIth Media Changes
When you're promoting your book, or when you're a book promotion specialist, it's important to keep up with media changes. For example, if there's a national television show that's launching this fall, you need to know about it so you can add the producer to your media contact list. If a major television show is folding, you need to know about that, too.
So I keep my eyes and ears open for such changes in the media, and I learned about one this morning. WLVI-TV, one of Boston's independent television stations, has just been bought by the company that already owns WHDH-TV in Boston. Here's the Boston Globe's story.
Regardless of what decisions are made about the future of WLVI-TV's original programming and staff, I say this news can't be good. A diversity of media ownership was supposed to keep our media honest. One of the things you had to love about Boston-area media was that it was local. Boston radio personalities (Jess Cain, Dave Maynard, Dale Dorman, et al.) were the narrators of our lives; it boasted two newspapers; and independent television stations provided their own treasures (WSBK-TV's "Movie Loft," WLVI-TV's "Creature Double Feature," and so on). Now, the times they are a-changin', and I think that's Boston's loss.
It also represents a loss of book promotion opportunities. Think about it: whereas, once, you could pitch a story idea to both WHDH-TV and WLVI-TV, now you'll pitch that story idea to one entity, with one perspective, and one agenda. Dissenting voices probably need not apply.
And, yes, on a personal note I'm just plain grumpy at the loss of WLVI-TV. As every Massachusetts-based adult who was ever a kid can tell you, WLVI-TV was the go-to station for the after-school programming that really mattered. I won't list the 1976 after-school television lineup on WLVI-TV here (although I could).
Suffice it to say that media changes seem to be happening with greater frequency these days, and it behooves everyone to follow those changes whether you're in the middle of a book promotion campaign or whether you're just trying to find a wonderful old movie to watch this a Sunday -- for free, with commercial interruptions, and without having to deal with a real-world or online video store.
So I keep my eyes and ears open for such changes in the media, and I learned about one this morning. WLVI-TV, one of Boston's independent television stations, has just been bought by the company that already owns WHDH-TV in Boston. Here's the Boston Globe's story.
Regardless of what decisions are made about the future of WLVI-TV's original programming and staff, I say this news can't be good. A diversity of media ownership was supposed to keep our media honest. One of the things you had to love about Boston-area media was that it was local. Boston radio personalities (Jess Cain, Dave Maynard, Dale Dorman, et al.) were the narrators of our lives; it boasted two newspapers; and independent television stations provided their own treasures (WSBK-TV's "Movie Loft," WLVI-TV's "Creature Double Feature," and so on). Now, the times they are a-changin', and I think that's Boston's loss.
It also represents a loss of book promotion opportunities. Think about it: whereas, once, you could pitch a story idea to both WHDH-TV and WLVI-TV, now you'll pitch that story idea to one entity, with one perspective, and one agenda. Dissenting voices probably need not apply.
And, yes, on a personal note I'm just plain grumpy at the loss of WLVI-TV. As every Massachusetts-based adult who was ever a kid can tell you, WLVI-TV was the go-to station for the after-school programming that really mattered. I won't list the 1976 after-school television lineup on WLVI-TV here (although I could).
Suffice it to say that media changes seem to be happening with greater frequency these days, and it behooves everyone to follow those changes whether you're in the middle of a book promotion campaign or whether you're just trying to find a wonderful old movie to watch this a Sunday -- for free, with commercial interruptions, and without having to deal with a real-world or online video store.
Wednesday, September 13, 2006
Key Book Promotion Rule
Here's the key thing to remember about book promotion: no matter what happens, the journalist is always right.
That means that if you're not happy with something a radio host says on the air, or something a journalist forgets to include in his/her article, or the direction in which a television host takes an interview, then you'll just have to live with it. It's not your show, nor is it your newspaper or magazine. And it's not your Web site. It's theirs, and -- as someone on a book promotion tour -- you're an invited guest on their turf. You're the Kato Kalin to their O. J. Simpson.
You're the author who's asking for air time or space in a print (or digital) medium. If you get that time or space, then you're a winner. If your book is mentioned, then that's a plus. Otherwise, then chalk up that one radio interview as an opportunity to at least have gotten your name (and expertise) out there. Don't try to shout out your book title over the interviewer's "goodbye, thank you for being here." It won't work. The host or the producer has control over the audio controls. You don't.
I've had clients be disappointed that a radio show host didn't include a link to the author's site on the host's Web page. I've also had clients be disappointed that a newspaper's Web site that reprinted a client's article contained only the author's byline, but not a hyperlink to the author's Web site.
It's okay to feel disappointed. It's not okay to ask the radio show host or Webmaster or journlist or whomever you're dealing with to "fix the problem." There is no problem. The journalist is always right.
Just as you don't complain about the accomodations when you're staying overnight at a relative's home, you don't start making requests for special attention or editorial changes when you're an author who's on a book promotion tour. It's inappropriate, it's unprofessional, and it's not going to get you anywhere. And it's going to get your book publicist's dander up if you request that he or she do it for you. Your book publicist will have a relationship with those journalists long after you've moved onto your next project, and he or she will honor the key rule of book promotion -- the journalist is always right -- at all times.
Every media hit will not change your life, although some may. Just remember that, cummulatively, interviews work to promote your book even if there are individual disappointments along the way. There's never any excuse for telling a journalist how to do his or her job, or to insist on special treatment, during a book promotion campaign. Enjoy the ride, and know that -- if you follow the key rule about book promotion -- you will come away with friends in the media. Otherwise, you're on your own.
That means that if you're not happy with something a radio host says on the air, or something a journalist forgets to include in his/her article, or the direction in which a television host takes an interview, then you'll just have to live with it. It's not your show, nor is it your newspaper or magazine. And it's not your Web site. It's theirs, and -- as someone on a book promotion tour -- you're an invited guest on their turf. You're the Kato Kalin to their O. J. Simpson.
You're the author who's asking for air time or space in a print (or digital) medium. If you get that time or space, then you're a winner. If your book is mentioned, then that's a plus. Otherwise, then chalk up that one radio interview as an opportunity to at least have gotten your name (and expertise) out there. Don't try to shout out your book title over the interviewer's "goodbye, thank you for being here." It won't work. The host or the producer has control over the audio controls. You don't.
I've had clients be disappointed that a radio show host didn't include a link to the author's site on the host's Web page. I've also had clients be disappointed that a newspaper's Web site that reprinted a client's article contained only the author's byline, but not a hyperlink to the author's Web site.
It's okay to feel disappointed. It's not okay to ask the radio show host or Webmaster or journlist or whomever you're dealing with to "fix the problem." There is no problem. The journalist is always right.
Just as you don't complain about the accomodations when you're staying overnight at a relative's home, you don't start making requests for special attention or editorial changes when you're an author who's on a book promotion tour. It's inappropriate, it's unprofessional, and it's not going to get you anywhere. And it's going to get your book publicist's dander up if you request that he or she do it for you. Your book publicist will have a relationship with those journalists long after you've moved onto your next project, and he or she will honor the key rule of book promotion -- the journalist is always right -- at all times.
Every media hit will not change your life, although some may. Just remember that, cummulatively, interviews work to promote your book even if there are individual disappointments along the way. There's never any excuse for telling a journalist how to do his or her job, or to insist on special treatment, during a book promotion campaign. Enjoy the ride, and know that -- if you follow the key rule about book promotion -- you will come away with friends in the media. Otherwise, you're on your own.
Wednesday, September 06, 2006
More News Features Mean More Book Promotion Opportunities.
I'm not going to take sides on the Katie "is she serious and worthy enough to be a news anchor" Couric controversy. But I will say that my spirits were lifted by MSNBC and other news sources' criticism of her, which was largely that the features she is adding are out of place on the "CBS Evening News."
More features on national television mean more opportunities for authors to promote their books, and more opportunities for authors to promote their books mean more chances for book promotion specialists, like me, to create good news (no pun intended) for our clients.
So, Katie, keep up the good work. We want to see you continuing to emphasize features over hard news on the "CBS Evening News" -- just as long as the "Today Show" that you left behind doesn't jettison the feature stories in favor of more hard news.
More features on national television mean more opportunities for authors to promote their books, and more opportunities for authors to promote their books mean more chances for book promotion specialists, like me, to create good news (no pun intended) for our clients.
So, Katie, keep up the good work. We want to see you continuing to emphasize features over hard news on the "CBS Evening News" -- just as long as the "Today Show" that you left behind doesn't jettison the feature stories in favor of more hard news.
Tuesday, September 05, 2006
A New Year in Book Promotion
Why does the first day back at work after Labor Day Weekend always seem like a new year -- in book promotion and beyond? Maybe because the kids are back at school, the weather is changing, the white cotton clothes have been packed away, and a new lunar year will soon begin. Besides all that, a long holiday weekend clears our minds and we all (book publicists , authors, publishers, and the media) come back to our tasks with fresh ideas and new enthusiasm.
So, to everyone who's in the middle of a book promotion campaign, I propose that we all start a new year -- with a fresh slate -- today. And, to everyone who's about to embark on a book promotion campaign, this will be a new project and a new adventure.
Let's make it a great one.
So, to everyone who's in the middle of a book promotion campaign, I propose that we all start a new year -- with a fresh slate -- today. And, to everyone who's about to embark on a book promotion campaign, this will be a new project and a new adventure.
Let's make it a great one.
Friday, September 01, 2006
Book Promotion Without Alienating the Media
I enjoyed the movie, "Little Miss Sunshine," but there was one scene that made me squirm. It was when Greg Kinnear's character, Richard, confronts his literary agent about the agent's failure to sell his self-help book to a publisher. The agent explains that all the publishers had turned down the book.
"What's the next step?" Richard asks the agent.
Richard is counting on the advance that the book's sale will bring, because -- apparently -- he's quit his day job. The agent is left with the thankless task of explaining to Richard that there is no next step. No is no. No doesn't mean keep trying. No means try again with a new book idea, but drop the old idea. It was pitched. It was rejected. Finis.
That isn't what Richard wants to hear, and it's not what you want to hear when you're in the middle of a book promotion campaign and you've pitched an idea to the media that doesn't fly, but -- sometimes -- that's the way that it is.
When your pitch falls flat, and the media says no, you can change the pitch. You can reformulate the pitch, based on the feedback you've received, and try again with an angle that's better suited to the media's needs.
But what you can't do is tell the media decisionmakers that they have to do the story. You can't tell them they're being shortsighted or ignorant for turning it down, and they'd better reconsider if they know what's good for them.
If you try to force the media to promote your book, or you try to bully them, or you badger them in any way, you won't get them to change their mind. All you'll succeed in doing is alienating the media and burning bridges.
No isn't always an opportunity to close on the rejection. No is sometimes an opportunity to listen to why.
No is often a chance to go back out to the media with something far better and score a yes.
So what is the next step? The next step is to keep the faith that your book promotion campaign will be highly effective -- but learn when to take no for an answer and when to change strategies.
"What's the next step?" Richard asks the agent.
Richard is counting on the advance that the book's sale will bring, because -- apparently -- he's quit his day job. The agent is left with the thankless task of explaining to Richard that there is no next step. No is no. No doesn't mean keep trying. No means try again with a new book idea, but drop the old idea. It was pitched. It was rejected. Finis.
That isn't what Richard wants to hear, and it's not what you want to hear when you're in the middle of a book promotion campaign and you've pitched an idea to the media that doesn't fly, but -- sometimes -- that's the way that it is.
When your pitch falls flat, and the media says no, you can change the pitch. You can reformulate the pitch, based on the feedback you've received, and try again with an angle that's better suited to the media's needs.
But what you can't do is tell the media decisionmakers that they have to do the story. You can't tell them they're being shortsighted or ignorant for turning it down, and they'd better reconsider if they know what's good for them.
If you try to force the media to promote your book, or you try to bully them, or you badger them in any way, you won't get them to change their mind. All you'll succeed in doing is alienating the media and burning bridges.
No isn't always an opportunity to close on the rejection. No is sometimes an opportunity to listen to why.
No is often a chance to go back out to the media with something far better and score a yes.
So what is the next step? The next step is to keep the faith that your book promotion campaign will be highly effective -- but learn when to take no for an answer and when to change strategies.
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