Paula' s Blog

The 80/20 Rule: How to Promote Your Books Properly on Social Networking Sites

2012-01-22T18:50:00.000-08:00

Social networking sites like Facebook, Twitter, Google+, Goodreads, etc., have become an integral part of promoting books and building an author platform. However, authors must realize that there are right – and annoyingly wrong – ways to use these sites. Used correctly, sites like Facebook and Twitter can help authors position themselves as valuable sources of information and entertainment. Use these sites incorrectly, and authors risk coming across as self-absorbed and inexperienced.

When posting on social networking sites, authors should remember the 80/20 rule. This rule dictates that you spend 80% of your time posting about things other than your book, and 20% selling. That’s right – 80% of what you post should not be a sales pitch. Why is this true? Remember that readers are human beings, who long to make connections with others. They join social networking sites not to receive non-stop reminders to buy, but to develop relationships and learn about topics that matter to them.

So, what should you post 80% of the time? Well, the most important reasons to network are to build relationships with your readers and position yourself as an expert. Therefore, 40% of your posts should be personal: readers want to know about you, your personal life, your thoughts about writing, etc.

The other 40% should be about your subject area, so provide information that your target audience will find interesting and useful. If you’re not an expert in your field or are uncertain about writing on a specific subject area, write about things you do know, such as the steps you took to become a writer, what you’ve learned about your subject area while writing, etc. Share whatever expertise you have that your followers might find useful themselves.

The other 20% of the time, you can remind readers that you have a book they might be interested in purchasing. But be judicious with these posts; remember, some of your followers and friends will have already seen posts about buying your book before. Do your best to make your sales posts relevant and interesting; i.e., only issue these kinds of posts when there is something new to announce, such as a price increase, a revised edition, or an interesting review of the book.

What happens when you ignore the 80/20 rule? Do so at your peril; authors who post nothing on their social networking sites but constant reminders to buy their books will usually be ignored, or worse, deleted by their followers.

For those who wish to make the most of social networking and sell books (rather than offend visitors), here is a list of important do’s and don’ts:

DO

…set up profile and fan pages on Facebook, Twitter, Goodreads, Google+, etc.

…post often about what’s happening in your life, your thoughts about your writing and your book’s subject area, and about topics relevant to your audience.

…if you use Twitter, retweet relevant posts by your followers. And thank them when they retweet yours.

…if you share information on Facebook, be sure to acknowledge the original source.

…if friends sign up for your Facebook fan pages, be gracious and follow theirs. Likewise, if someone follows you on Twitter, be generous and follow him/her back.

…share news about interviews, awards, sales, plans for sequels, etc.

…be inquisitive. Ask friends and followers for information and advice, and end your posts with invitations for others to weigh in.

…be social. Respond to your friends and followers when they post, and they will respond to you.

DON’T

…constantly post announcements reminding people to buy your book. One announcement every few weeks is okay, but daily reminders will only serve to alienate your followers.

…constantly announce pricing changes and giveaways. Once in a while is okay, but do this too often and your audience will begin to tune you out.

…hog up the airwaves by posting too often. Be judicious and thoughtful about what you’re putting out there for others to read.

…post inane or useless information; especially avoid constant updates about mundane chores, errands, and household tasks,

…incite others with inflammatory political and/or religious statements. Unless your book is about one of these topics, you stand to alienate 50% of your audience with political and religious posts. Keep your posts professional and relevant, and leave the controversial topics for private conversation at home.

…send out automatic responses to new followers urging them to “take a look” at your website, Amazon account, or segment of a book. Develop a relationship with your followers first, before you clobber them with a back-handed sales pitch.

…send automatic responses at all (they come across as perfunctory and meaningless).

…blow your own horn. Listing yourself as an amazing, bestselling, renowned, etc., author, especially if the book is your first, can be off-putting and make readers see you as pathetic and insecure.

…trash agents, editors, reviewers, or other writers (and if you’re a publishing professional, don’t bash or belittle potential or actual clients). Nothing alienates writers and readers more than someone who appears unkind or has a personal axe to grind.

Finally, as with all other areas in your life, do your best to do unto others as you would have them do unto you. Follow the 80/20 rule, be a gracious, supportive, and conscientious social networker, and readers will look forward to reading your posts and buying your books.

The Top Four Methods for Increasing Brand Recognition and Sales in Book Marketing

2012-01-11T13:24:00.000-08:00

I recently asked some of my clients to let me know how their sales went this past year and what methods they thought worked best in their book publicity campaigns. A number of methods stood out, but here were their top four picks:

1. Targeted Speaking Engagements

The number one method for building brand recognition and sales, according to almost all of my clients, is targeted speaking engagements. Those who appeared before niche groups to give presentations, and then sold their books afterward, said that this method was by far the best way to reach audiences and sell books.

Here’s a comment from Ona Russell, author of the legal mysteries The Natural Selection and O'Brien's Desk (www.onarussell.com) about the power of targeted speaking engagements:

“Book signings rank pretty low on the effectiveness scale, while speaking engagements are, for me, the best way to increase exposure and sales. That gig you got me at the Writer's Guild far exceeded expectations – I sold a ton of books there. Same goes for the law lectures you arranged. When you get a chance to showcase your skills and tell your personal story, audiences are more receptive to hearing about (and purchasing!) your book(s).”

2. Media Interviews

Many of my clients also mentioned media interviews, including print, radio, and television, as being effective marketing tools for selling books. Here’s what Greg Fournier, author of Zug Island: A Detroit Riot Novel (www.fournology.com), had to say about his radio interviews:

“The WDET - PBS interview was the high point of my experiences and the timing worked out great for me. My webmaster added it to my novel's website, and it is getting hit regularly. I hooked up with a free online radio booking outfit and have two web-radio interviews lined up - one at the end of the month and one in March. The subject is "Racism in America and the Obama Era" or some variation of that. The PBS interview online helped me score these new bookings.”

3. Giveaways and Promo Items

Other clients found that using giveaways and promotional imprinted items helped increase sales. Carol Cronin, U.S. Olympic sailor and author of Oliver's Surprise, Cape Cod Surprise, and A Game of Sails (www.livewirepress.com), explains how this method worked for her:

“My most successful selling tool is business cards I made up with the book's cover and a brief synopsis plus blurbs. I hand them out everywhere, on airplanes (see my blog post called "Airplane Sales"), in restaurants, at parties. Those that are already reading ebooks are psyched to be given a recommendation; those who are not yet reading ebooks are intrigued (especially by the QR codes).”

4. Social Media/Blogging

Finally, almost all of my clients mentioned using social media, especially blogging, as a powerful way to engage with readers and build brand identity and sales. Greg Fournier said, “The surprise of all that has happened is that my blog seems to be a qualified success. I have had over 2,700 hits in seven months, starting at ground zero. I have written fifty-six posts, and I enjoy the result of writing them more than the agony of deciding what to write about.” Carol Cronin added: “Social media has been a good tool, especially blogging. People like getting to know the "behind the scenes" stuff, as long as it's not too technical. And passion and personality continue to be the best sales tools.”

What methods have you found to be the most successful for creating brand recognition and sales for your books?

10 Tips for Writers on Where to Find Ideas for Blog Posts

2012-01-04T21:06:00.000-08:00

A friend of mine posted on his Facebook author page that he was looking for ideas for posts on novel writing. Running out of ideas is a common problem for people who post a lot (or those of us who are just plain stumped when it comes time to write a post). Since blogging is an important component of an author’s promotional mix, it’s crucial to keep the topics flowing. So, what can authors do when the well runs dry? Here are my suggestions:

1. Write about what's happening with you and your writing – your writing process, your writing group, conferences you're going to (or would like to attend), your thoughts on writing, your status with your latest book, what you’re reading, what you’d like to be reading, writers who inspire you, etc.

2. If you’re comfortable with sharing your personal life, intermix your writing posts with a few personal anecdotes about what’s happening in your life. Sometimes an event in your day-to-day life will trigger thoughts or ideas that work their way into your written work; share those.

3. Discuss your writing hopes and dreams, how you plan for the future, your vision for yourself as a writer. Other writers are always interested in future trends

4. If you’re an expert in a field, share tips on that subject area.

5. Post a photo or a quote and describe why it pleases or inspires you.

6. Write responses to articles on writing. You can post them and then comment on them, or just share your thoughts about them (reference them with a link).

7. Use Twitter and LinkedIn to get ideas for posts. You can build up your Twitter lists by following other writers (there are thousands of them out there!). If you're not sure who to follow, go to the pages of people you follow who have a lot of followers and choose from their lists. Or check the Twitter hashtags for writing ideas.

8. Google any topic on writing and you're bound to find lots of links on subjects that will strike a chord with you. Give your followers your take on those topics, or start a thread about a subject you find in your searches.

9. Check out other writers’ web and blogsites and see what topics are trending there. Likewise, look at social media, networking, and publishing sites that focus on reading and writing (Goodreads, AbsoluteWrite, Publetariat, BookTrib, The Passive Voice, etc.)

10. Finally, you don't always have to reinvent the wheel. If you’ve been blogging for a while and have posts that are popular or followed a lot, post them again, with updates and comments on what others have said.

Watch Your Backside: A Publicist’s Advice on Back Covers

2011-12-27T16:37:00.000-08:00

I was dismayed recently to receive a number of books from prospective clients (including three from a small press) that had nothing on the back covers other than the Bookland EAN barcode and a brief paragraph about the book.

That’s it? A bar code and a paragraph?

Some of these back cover paragraphs were poorly written and riddled with typos. One included a glib attempt by the author to downplay his writing skills with self-effacing humor. One had no description of the book, but instead listed a 16-line quote by a reviewer. Another filled the entire space of the back cover in an illegible, shadowed font.

It’s hard to believe that in today’s crowded market, authors willingly choose to ignore the valuable marketing space on their books' back covers. Because that’s what a back cover is – an opportunity to sell your book to a potential reader. But in order to sell, the back cover must be professional in design and compelling in its content.

Here’s what I like to see on a back cover (in addition to the Bookland barcode), preferably in this order:

1. An intriguing, well-written one or two-paragraph summary about the book.

If the book is fiction, think of the summary paragraph as your chance to hook your prospective reader. Focus on the meat of the story: WHO has to do WHAT to cause WHAT to happen/not happen? Then add details that will appeal to your target audience.

If you’re writing non-fiction, describe your book’s contents in a way that sets you apart from any other books on the topic. What makes your book different? What special expertise do you bring to the subject matter that will entice readers? And what will readers learn after reading your book?

When you write your back cover copy, think about what your reader is looking for. Describe the story – or in the case of non-fiction, the book’s content – in such a way that the person reading it feels compelled to open the book.

2. At least 3 one or two-sentence blurbs from reviewers your target readers recognize and respect.

The more well-known your reviewers, the more likely readers are going to want to take a look at what’s inside your book. Network with your friends and fellow authors to locate reviewers who will appeal to your target audience. Send the reviewers copies of your manuscript and ask them to write a blurb for you. When you receive the blurbs, parse them down to one or two sentences that do the best job of relaying what’s good about your book. Remember that endorsements are especially important to media folks, so it’s worth the time and effort to try to obtain blurbs from readers who are well-known.

What if you don’t know any big names who can endorse your book? Ask your writing group members, fellow authors, friends, and even family members if they’ll read your work and give you an endorsement. Choose people who are good representative readers, and/or those who will give you a well-written, pithy quote. A good review from a reader who represents your book’s target audience may be the deciding factor in motivating an interested reader to open and/or buy the book.

3. A headshot and bio.

Readers like to know something about the authors of the books they might buy. By providing a small photo of yourself, and a brief, one-paragraph bio, you are using yourself as a selling point. Be sure your headshot is professional-looking and include the most important facts about yourself and your platform in the bio. Also, list your website and other social media sites where readers can find more information about you.

Your headshot should appear next to the biographical paragraph and should be small enough to fit the space next to the bio, but large enough that your features are recognizable.

In addition to the bar code and pricing information, you may want to include listing the book’s subject category (usually this appears in the upper left-hand corner of the back cover). Doing so helps staff members at bookstores and libraries know where to shelve your book.

Finally, think of your back cover as prime advertising space and use as much of it as you can, with proper attention to design and legibility. If you have won awards, be sure to list those on the back cover, as well. But most important, design your back cover so it inspires your readers to buy. Give them a glimpse of your voice and style with an intriguing, well-written synopsis. Let them know that your work is important and endorsed by others with a few positive blurbs. And introduce yourself and your platform by including an author photo and a brief bio.

The Introverted Author & the Art of Co-Promotion

2011-12-05T09:35:00.000-08:00

Some authors are natural show persons; they love working a crowd, and have no problem speaking in front of groups, walking up to strangers to offer a pitch, or singing their own praises on the Internet.

You know the type – these are the authors who give multiple presentations at writing conferences, blatantly self-promote at family gatherings and business meetings, post daily blog articles about any topic related to their writing, and forgo the 80-20 rule on multiple social media sites in favor of 100% “me” talk. They’re the ones who have no problem, no matter what the venue, proudly exclaiming, “Hey, I’m an author and you must buy my book!”

We have to give these authors their due, not only because they often lead the way in demonstrating how to self-promote, but because many of them have become really successful as a result of their outgoing personalities. They manage to sell, in many cases, not because of their books deserve to be read, but through the sheer force and dynamism of their promotional efforts.

But many authors are not built that way. A good number of them tend to be shy and fairly humble about their achievements. Even if they have no problem being friendly and outgoing in their personal and business lives, when it comes to their books, they hold back. This is a common tendency of authors who are new to the game; oftentimes they’re unsure of themselves and/or their work, are not certain about how to promote, or just don’t enjoy being in the spotlight. In my publicity business, these are the clients who hire me to set up an aggressive speaking and media tour and then, once the scheduled dates get close, cancel their appearances one-by-one. I can’t fault them; they know they need to do publicity in order to sell their work, but when it comes time to take the stage, they just can’t do it. In truth, they prefer to work quietly on their books and, when finished, are hard-pressed to venture out to promote them.

Some would say that if these shy authors want to sell books, they need to get with the program and learn to be show persons. And speaking from a publicist’s perspective, I have to agree that it’s fairly difficult to obtain exposure for authors (many who don’t have much of a platform to begin with) who prefer not to do book signings or speaking engagements, who refuse to travel, who have no interest in setting up websites and blogs, and who are uncomfortable with promotional efforts that involve pubic exposure of any kind.

But I understand where these authors are coming from – they are first and foremost writers, not public speakers or social media experts. They prefer to complete a book and get on with the business of writing the next one. And they don’t want to change who they are in order to sell their work

So, what can these shy authors, especially those who are new to the game, do if they’re not natural show persons? If you’re the retiring and humble type, how do you get around your natural inclinations when it’s time to sell your work?

My answer for shy writers is to consider co-promotion. If you’re the type who really, truly hates being in the limelight, then promoting jointly, with the help of someone else, might be the solution. That someone else can be a friend or family member who is more outgoing, another author (or authors) with similar book(s), or hired professionals who can help handle day-to-day promotions.

Co-promotions can include joint or group book signings, promotional events, and tours. If you are shy about appearing on your own at a signing or speaking opportunity, teaming up with another author or a group of authors for an event might be a good way to go. Your coauthors will bring people to the event, and if you share a common topic or genre, you might feel more comfortable about selling your books to the event’s attendees. Another option is to ask friends to host events for you; a private gathering in someone’s home may feel less threatening if you’re the kind of author who is naturally shy.

Likewise, if you’re uncomfortable speaking in front of groups alone, consider being part of panel presentations, where you can hang back or stand out as much as you like, and punt any question you don’t care to answer to the rest of the panel sharing the stage with you.

Don’t like working the crowd at an event? Ask others who are more outgoing to come with you to work the room or help out with the speaking/demonstration portions of your talk.

If you’re uncomfortable appearing before live audiences, consider taping interviews or presentations and posting them on YouTube and on your web, blog, and social media sites. One of the nice features of video clips is that they can be edited to make you look better, to erase mistakes or speaking glitches, and to add in information that you might have overlooked.

If you’re shy about your personal appearance, consider creating podcasts of your work, and share those on the Internet on your own website and at other places where readers can listen in. Don’t forget to mention your book, and describe where readers can go to hear more or purchase the book. Seek out radio interviews and ask if you can give them by phone, rather than appearing in-studio, or pursue online interviews, where you can send information via email.

Those who are okay with being seen and heard, but who prefer not to travel for public appearances might consider speaking to book clubs and other organizations via Skype. You can give presentations, take questions, and have pretty much the same interactions with readers that you would at an in-person event or signing without having to leave the comfort of your home office.

Teaming up with other authors or using videos and other electronic means of communication are not the only way to co-promote. You can gain incredible traction for yourself and your work on the Internet by participating in group blogsites or guest blogging on other people’s sites. The same is true for social media sites; if you’re not comfortable with creating your own, consider teaming up with someone else to share a Facebook, Twitter, or Goodreads account,

If you’re uncomfortable making personal announcements about yourself on Facebook, Twitter, and other social media sites, a good option might be to use dashboards like HootSuite, where you can upload announcements and schedule them at a pace that feels right to you, interspersing them with other information so that they appear on your social media sites at strategic times. You can even hire professional social media experts to help create content for your sites and post that content for you.

Those who aren’t good at speaking in public, but would like to become so, might consider working with a professional coach to learn good speaking and interview techniques. There are also organizations like Toastmasters, local business networks, and other professional groups and clubs that provide opportunities for free networking and feedback to help you hone your speaking skills.

Finally, if you’re not comfortable doing your own publicity, you might consider hiring a publicist and working with her to create a promotional plan that fits your personality and budget. If you prefer not to tour or do any public speaking, be sure to indicate that up front. Discuss the options for other ways of gaining publicity. A good public relations professional should be able to help you identify unique ways to promote your work that fit your personal style.

There are a number of successful authors (many who have a long list of publications under their belts) who have become literary media darlings and are so comfortable being on the public stage that they spend the majority of their time there. Their success can be intimidating, especially to new authors, who haven’t yet developed extensive platforms or significant numbers of readers, or who struggle with being public about their work.

But authors who aren’t comfortable in the spotlight can still be successful at promoting; they just need to identify creative ways to get their message out. Ultimately, we all want authors to do more of what they’re good at, which is writing. No shame, then, for those authors who know their limits as show persons, and who find creative ways to promote their work so they can spend their time on what really matters: writing good books.

Authors: Be Prepared to Speak!

2011-11-10T12:23:00.000-08:00

Photo credit: Author Amy Snyder gives a presentation on her nonfiction book, Hell on Two Wheels, about the Race Across America.

Speaking engagements are great ways for authors to get the word out about their books. Nonfiction authors, especially, can develop a number of talks about their topic and hit the speaking circuit to develop a name for themselves while promoting their work.

Many fiction authors also find public speaking to be a successful way to promote their books. If your novel or short story collection has a topical subject matter, or if you have a special area of expertise or a solid platform in a subject area, you should be able to find opportunities for speaking engagements where you can promote your work and/or sell it afterward.

But arranging speaking appearances is not always easy. For those who are considering going on the speaking circuit, here are some tips to help make the experience easier:

1) Develop a number of presentations around your book’s topic and write brief, one-paragraph descriptions for each of them. The more options you can offer a venue or organization, the more likely that you will have something they’re looking for and be hired to speak.

2) Start early – some venues, including professional organizations, colleges and universities, reading clubs, and museums and libraries, book speaking events many months to a year ahead of time.

3) Keep a list of the talks you’ve given, including the cities where you’ve appeared, the dates for your appearances, and the title of the presentations you’ve given. Organizations will want to know where you’ve spoken before, and having a list to give them shows that you are experienced and a proven commodity.

4) Likewise, get testimonials from those who have hired you to speak. Some organizations will want to check your references to verify your experience and track record.

5) Be prepared when you speak. Do whatever research is required, make notes, and practice before your appearances. Also, be sure you know your audience, including how many people will be there and their demographics – age, sex, expertise, etc. – and plan your talk accordingly.

6) If needed, make arrangements for a/v equipment and always have a backup (your own laptop, printed handouts, etc.) ready in case the equipment is not working or is unavailable the day of your presentation.

7) Bring material to distribute or leave behind at your talk. Prepare handouts, bookmarks, business cards, etc., and find out the number of estimated attendees ahead of time so you have enough copies for everyone in your audience.

8) If you are speaking about your book, have standing posters of the book cover made and bring one with you to mount on a table or podium. Also, check with your host to see if s/he would like any material beforehand to create a display or do general promotion for your talk.

9) If your presentation is open to the general public, be sure to touch base with your host about what kind of media work s/he is doing for promotion. Do your own promotion, as well – create and distribute flyers, sent email invites to friends and relatives, announce events on social media sites, including Facebook and Twitter, and send press releases to content and calendar editors at news media offices and websites.

10) If you are going to do some media promotion for your speaking engagements, be sure to contact editors, reporters, and producers for print, radio, and television about two-three weeks prior to your event. Create a press release specifically for your event and, if possible, tie it to national or local news headlines that are relevant to your topic. Also, have a head shot of yourself, your book cover art (jpg files are best), and a presentation summary or description ready in case your media contact requests this info.

11) Be sure to take a camera or video recorder with you and have a friend or someone in the audience take photos of you while you speak. You can place these photographs and clips on your website, and the video clips will also come in handy for those venues that require seeing a clip before hiring you to speak.

A final note: many authors have asked me about the protocol for being paid for speaking engagements. In general, I’ve found that due to the state of our economy, most venues (aside from large corporations) do not pay honoraria for speakers. You should always ask, though, because many organizations might be willing to pay a nominal speaking fee, and even if it is a small one, it may help defray the costs of getting there. Most venues are willing to negotiate, and if they can’t offer honoraria, they are oftentimes willing to provide coverage for travel costs, money for gas, or a meal at the event.

If you are promoting a book, you’ll want to be sure to discuss the possibility of selling books after your presentation and make arrangements for how sales are handled. If the venue is a library or museum, you can ask about having your booked stocked on the shelves or in the museum bookstore. You’ll also want to be sure that you have books there at the event; if the venue won’t order them, then make arrangements to have them shipped ahead of time or, if convenient, carry them with you.

Finally, be sure to collect business cards and contact information from everyone involved in setting up your speaking event and send thank yous after your appearance. Even if your event was not the most organized or well-attended, you still want to show gratitude for being given the opportunity. A thoughtful thank you is a sure way to show your host(s) that you are a professional and will help keep the door open the next time you want to give a presentation there.

The Importance of Professional Editing

2011-08-31T18:14:00.000-07:00

Comma splices. Sentence fragments. Cliché expressions. Missing words. Commas and periods set outside quotation marks. Overuse of exclamation points. Misspellings. Passive voice.

Authors, please understand – errors like these will kill your writing. It doesn’t matter how compelling your storyline is; if any of these problems appear on the page, guess what your reader is going to remember?

As a publicist, I beg you to do the following:

Before you send your manuscript to an agent, publisher, or publicist, have it professionally edited.

Before you place a book online in any format, have it professionally edited.

Before you send your manuscript out to be printed, have it professionally edited.

Let’s talk a bit about editors.

Even though it helps to have people you know (i.e., friends and family) read your completed work, there is a huge difference between having your book read by your Aunt Martha, and having it read by someone who specializes in English grammar. Unless Aunt Martha is a professional editor, don’t go there. Even if she is an avid reader of books or a writer herself, don’t go there. Hire someone who has some credentials and understands proper grammar and punctuation.

If you can find a professional editor who has experience in the publishing industry, that’s even better.

Most editors will read books for content issues (this is known as a developmental, substantive, or content edit) and for grammatical/structural flaws (a copy-edit or detailed line-edit). You want someone who will do both, because a book with plot, character, and continuity issues can be as problematic as a book riddled with grammatical errors.

If you are a fiction author, a professional content editor will be able to tell you if your characters are believable, if they’re likeable, if their dialogue is appropriate, if your book’s plot makes sense, if you have a proper beginning, if your story contains enough conflict, if your protagonist and antagonist finally confront each other, and if you have a proper ending.

If your book is non-fiction, a professional content editor will help ensure that the book is factual, properly researched and annotated, timely, and contains information that makes it a worthy contender in its category.

How do you find professional editors? Here are some suggestions:

1. Ask professionals in the industry (agents, publicists, independent press owners, etc.) who they recommend. Most publishing industry pros have worked with editors and can recommend good ones to their clients.

2. Search online for professional editors who are experienced and can give you client references. Be sure to do your homework and contact those references before signing a contract. Ask to see samples of work they’ve done on documents similar to yours.

3. Place an advertisement on online job boards such as monster.com, careerbuilder.com, or ifreelance.com, or post locally on Craigslist or in your local newspaper.

4. Ask fellow authors who they’ve used. Be sure they’re recommending professionals and not inexperienced friends or family (like Aunt Martha).

Finally, be clear about what you want an editor to do with your manuscript. (Note: You may want to consider having a contract if you’re going to hire someone for a substantial amount of work on your project.) I recommend having a content edit done first, so that you can correct those issues and rewrite the book before spending dollars on final copy-editing and proofreading.

Of course, it’s crucial that a book be completely edited, but if budget is an issue, consider having at least a portion of the book professionally scrubbed. If you find yourself having to cut costs, go with the first three chapters, since those are the most important for creating a positive first impression and engaging your reader.

Finally, once you’ve had your manuscript edited for content and grammatical issues, be sure to have the final version proofread (professionally, if possible) one last time for any items you might have missed.http://www.blogger.com/img/blank.gif

Here is a list of websites with info about editing/editors (Disclaimer: The following is just a taste of what’s available on the Internet, and does not imply any specific recommendation):

Society for Editors and Proofreaders http://www.sfep.org.uk/pub/dir/directory.asp
American Copyeditors Society http://www.copydesk.org/
Book Editing Associates http://book-editing.com/
http://www.infinitypublishing.com/book-professionals/recommended-book-editors.html
http://www.bookmarket.com/101edit.htm
http://www.firstediting.com/book_editing_services.php
http://bloodredpencil.blogspot.com/
http://www.erinedits.com
http://thebookeditor.com/
http://www.manuscriptediting.com/
http://mybookedit.com/
http://www.shewrites.com

Reaching Out to Booksellers: A Publicist's Advice

2011-08-16T23:42:00.000-07:00

I was heartened today to see that Success Magazine has named Elliott Bay Book Company in Seattle as one of its American Comeback success stories, especially since a number of my clients have appeared there over the years. One of the reasons for the Elliott Bay Book Company's success is that the managers there, like many other booksellers who are struggling to stay alive in the current economic climate, have realized that hosting author appearances is a great way to get people into their stores (and to sell books).

Although in recent years many booksellers (and even some of the larger libraries) would not consider shelving books by self-published authors, the changes in the industry have forced them to reconsider. This is good news for authors and their publicists: it's now much easier to place both traditionally published and self-published authors in stores for signings, especially if they have written books that appeal to niche audiences or have compelling and/or newsworthy platforms.

Because of the enthusiasm booksellers are beginning to showing for author events, and because there's a good chance that more brick-and-mortar stores will go by the wayside in the future, authors should seriously consider doing a book tour now. Bookstore appearances provide authors with a vital opportunity to network and connect with readers. They also give booksellers a chance to meet authors directly and learn about their books first-hand, so they can promote those books to store customers when the signing is over.

There are some changes in the way bookstores handle author signings that are worth noting. Many independent booksellers are beginning to charge admission fees for author events. Generally, these fees are nominal (usually in the $10 range) and can be applied toward the purchase of a book. And others require that publishers and/or authors pay co-op fees (typically between $100-$200), to help offset the store’s promotion costs, including designing and sending eblasts, printing posters, drafting releases for local media, staffing, and clean up. While some consider these requests controversial, the decision to agree with admission and coop fees is entirely up to the publisher or author and is something to be aware of when booking events.

For those authors considering appearing at bookstores (and, again, I encourage all authors to do so before more brick and mortar stores close), here are a few tips on how to best reach out to booksellers:

Start with a good publisher
Avoid known vanity presses and be sure that your publisher is able to provide your book through the distribution channels that booksellers use to buy books (these include distributors/wholesalers like Baker & Taylor or Ingram).

Be professional in your approach
Show that you respect a bookseller’s time by being professional and courteous when you call. When phoning a bookseller, try not to waste time with small talk (avoid empty phrases such as, “Hi, how're you doing?”). Instead, tell whoever answers that you are an author interested in appearing at the store and ask to speak with the person who handles events. When that person is available, introduce yourself, state the name of your book and the ISBN number, and tell him or her what you’re looking for (a reading, a formal talk, a general book signing, a meet and greet, etc.). If there are specific dates when you’ll be available, have those in front of you so you can provide the information quickly. Be ready to describe your niche/audience and how many people you think you can bring to your event. If you’re offered a date, follow-up with a confirmation email message, so that the manager has all of the relevant info about your event in writing.

Be flexible
Many booksellers can’t afford to pay for shipping on books that they know might be returned. Be willing to bring books if a bookseller doesn’t want to order from the distributor or publisher. Negotiate for a percentage of sales (I’m seeing many booksellers be very generous with their terms, with some even allowing the author to keep all proceeds and decide themselves what percentage to offer the store).

Also, be flexible about dates and times for appearances. The bookseller will know the best times for traffic in the store, so go with his/her recommendation for your signing.

Target cities where you know people
The idea is to bring a crowd to the store, so unless you’re a celebrity or a known author with a following, try to book in places where you have friends or family who can help build an audience for your event.

Help drive traffic to your event
Offer to provide promotional material (standing posters, bookmarks, giveaways, etc.) to those booksellers who are willing to set up a display in their stores. Also, be sure to offer to contact local media, including print, radio, and television, a few weeks prior to your event.

Be courteous and memorable
Show up on time and do your best to provide a well-thought out and rehearsed presentation. Be courteous to those who take the time to attend your event; even if only one or two show up, give them your best presentation –- you never know what connections those individuals might have that can help spread the word about you and your book. And always bring extra copies of your book in case you have a higher turnout than expected.http://www.blogger.com/img/blank.gif

Use the event as a marketing tool
Advertise your event on all your social media sites, including Facebook, Twitter,Goodreads,etc., and be sure to write about it afterwards. Take photos and post them on your web and blogsite.

Express gratitude
Be sure to take the time to thank the bookstore managers and staff for hosting your event. Collect business cards and/or take note of the names of all the staff members who help out at your signing, and be sure to mention them in your thank you note.

Please Read This Post Before You Send Me Your Book

2011-08-11T15:32:00.000-07:00

I am blessed. I have a wonderful job (I get to read and promote books for a living!), incredible clients, a great family, terrific friends, amazing students (I teach a class at a local community college) and colleagues I adore.

And these blessings make me one busy gal.

Even so, I do the best I can to make myself available to authors who call or email wanting info on promoting books. And I’m always ready to read whatever is sent my way.

But, if you’d like me to consider taking you on as a client, I have a few favors to ask:

Please be sure to let me know ahead of time if you plan to send me a book or ms.
I can’t tell you how often I have books sent to me out of the blue, with no prior phone call or email message to tell me why the book is being sent my way. Why do you want me to read it? And what should I do with it once it’s been read? Please don’t make me guess about something so important; call or send me an email message before you send a book, so I will know what it is you’re looking for in the way of publicity and what to do with the book when it gets here.

Please be sure your book/ms has been edited before you send it my way.
If you want me to take you and your book seriously, then I strongly urge you to have it edited by a professional editor before you send it to me to read. If there are typos, POV shifts, missing words, incomplete sentences, sentence fragments, improper pronoun agreement, etc., chances are good that I’m not going to read your ms/book all the way through. And I probably won’t take you on as a client.

In other words, get your book read by as many people as you can before you send it out to anyone (including me).

Please don’t send manuscripts by email.
Printer cartridges are expensive, so I beg all interested authors to please call or email me first and then, if we both agree that I might be the right person to help promote your work, send a hard copy to me via regular mail at the following address:

Paula Margulies
8145 Borzoi Way
San Diego, CA 92129

And finally, please, please, PLEASE, be sure to include your contact info when you send me a book/ms.
Sounds crazy, doesn’t it? But this is my number one pet peeve. I can’t let you know what I think of your book if I can’t reach you after I’ve read it. So, be sure to include your name, email address, and/or telephone number with the copy of your book (I don’t need a cover letter; a Post-It note is fine, as long as I can read what’s on it).

Thanks for humoring me with these requests. I’m looking forward to reading your work!

How a Publicist Chooses Which Books to Represent

2011-06-25T15:55:00.000-07:00

Ever wonder how a publicist decides which books she’ll agree to promote? Here are a few items that factor into a publicist's decision when considering a new client:

1. Is the book good?
Believe it or not, having a well-written and professionally published book is the number-one criteria for taking on a client. If the book isn’t good (i.e., is poorly written, hasn’t been edited, is riddled with typos, has a cover clearly not designed by a professional, etc.), it will be difficult to find a publicist to represent it. This fact is sometimes hard to hear, especially for those authors whose work has been already been rejected by agents and editors. Chances are, if your book is not good enough to be traditionally published, you may want to look at improving it before asking a publicist to look at it. The business of publicity is all about generating word-of-mouth buzz about your book. But, a bad book will not generate buzz, no matter how much exposure a publicist is able to obtain for it.
But, you ask, what if my book was rejected by agents and editors, and I want to self-publish it? Will a publicist still be willing to take it on? The answer is oftentimes yes, but be sure your book is the best it can possibly be before the publicist sees it. A good publicist is going to agree to represent books that are well-written and marketable; even if your book is self-published, you’ll want to make sure it has been professionally edited, designed, and printed, and that it has proper distribution.

2. Does the author have a platform?
This is the second most important criteria for taking on a client. Having a platform means that you, the author, have some kind of background or experience that is marketable and newsworthy. Publicists will want to know what it is about you that is interesting or notable, and this background will be crucial to obtaining media interviews for you.
How do you develop a platform if you don’t have one? Take classes and go to workshops that will help educate you in your book’s subject area (this is true for both fiction and non-fiction authors). If you have expertise, develop speaking topics and give presentations and workshops. Create a website and a blog, and make sure both are informative and educational. Become an expert in your subject area by blogging about your book’s content. Use social networking sites like Facebook and Twitter to develop a following. Write articles and publish essays on your content area. Enter contests and do as much as you can to become a known and sought-after entity in your subject area.

3. Is the book with a reputable publisher?
While it’s possible for a publicist to promote a self-published book, it can be a bit more difficult to do so if a book is not with a reputable press. There are a number of self-publishing entities out there that exist mainly to make money from writers. These entities are known in the industry as vanity presses, and some of them have unsavory reputations. Before you sign with a publisher, especially if you’re self-publishing, you’ll want to make sure that your publisher has a good reputation. Do background searches on the Internet and check with other writers and writers’ forums to see if the press you’re considering is a good one.
Also, be aware that most booksellers will not shelve books that are self-published. And even though booksellers are struggling and may soon become a thing of the past, there are still many independent and chain bookstores in existence that sell books to readers. If you want your book to be available through a bookseller, do all you can to have the book traditionally published. If your book is self-published, be sure it is available through distributors like Baker & Taylor or Ingram, or through independent distributors, if you want booksellers to stock it in their stores.

4. Is the book ready for distribution?
I get many calls from writers asking about publicity services months before their books are ready to be distributed. While it’s good to start early with publicity efforts, authors should take care to time their promotions so that their books are available when readers hear about them. I usually recommend that clients wait to start a publicity campaign until at least one or two months before their books are available through their distributors; otherwise, the booksellers I call cannot find the books in their listing services, or they’ll turn down opportunities for events because they see that the books are not yet available for ordering. If your publisher is producing advance review copies (ARCs), then we’ll be able to send copies to interested booksellers and media for review ahead of time. But if you don’t have review copies available, it’s best to wait until your book is listed with a distributor and very close to being available in print before starting your promotional efforts.
What if your book is only going to be available as an ebook? I hear from many authors who choose not to offer printed versions of their books. If that’s the case, then promotional efforts can begin as soon as the book is available for download. My only caution is to be sure that the book is ready to be read – publishing an ebook that is poorly written or has not yet been edited, can lead to weak reviews and no word-of-mouth buzz from readers. Make sure it’s truly ready for public consumption by having the copy professionally edited, the cover professionally designed, and obtaining back cover blurbs and endorsements from as many credited authors and readers as you can.

5. Does the author know what s/he wants in the way of publicity?
A publicist can recommend a game plan for promoting any book, but it helps to work with an author who knows what s/he wants in the way of publicity. Do you want a book signing tour, a blog tour, book reviews, media interviews, or all of the above? And what kind of budget do you have? Knowing the answers to these questions beforehand can help give a publicist some direction for the work she does, and will help ensure that you get what you want in terms of promotion for your book.

6. Is the author open to new ideas and possibilities?
I sometimes encounter authors who want publicity for their books, but are not willing to do much to help make that happen. A publicist can set up signing engagements, book tours, and line up media interviews, but it is up to the author to fulfill these engagements. An author who limits what can be done for his book, will limit the amount of reach the book has with readers. Likewise, an author who does not want to speak publicly, is unwilling to travel, and/or refuses to pursue social networking for his book, is not likely to be successful. Good promotion requires spreading the word to readers, and that requires reaching out to them in as many ways as possible. A good publicist will urge her clients to think outside the box and expand their promotional reach as far as possible; clients who are unwilling to do so are not likely to be good candidates for a publicity campaign.

7. Is the timeframe reasonable?
One of my favorite characters, Varuca Salt, in Roald Dahl’s Willy Wonka and the Chocolate Factory, is famous for her demanding cry, “I want it now!” Many authors are excited once their books are finally published and, in their haste to get promotional programs moving, demand instantaneous results from their publicists. But publicity can be a painstaking and time-consuming business. Oftentimes, scheduling events and interviews for clients can take numerous phone calls, email messages, and meetings to bring the sought-after press to fruition. Authors should realize that it may take days and sometimes even weeks to get agreements for events or media articles and interviews. The wise author will allow his publicist the time s/he needs to pursue promotional opportunities and know that having patience generally pays off with a yes nod for coveted media spots.

8. Is the author willing to work hard at promoting?
It doesn’t matter how good your publicist is – whether your book makes it or breaks it will depend on how hard you, the author, are willing to work. A good publicist can open doors and set the stage for you to inform others about your work. But, ultimately, it is up to you to make the most of those opportunities. Whether it is giving a talk at a professional meeting, doing a book signing, speaking at a trade show, or giving a radio or TV interview, the energy and professionalism you put into your performance is the most important factor in influencing readers to buy your book. Likewise, your willingness to put long hours into developing a professional and engaging website, create an active blog, work the social networks, and get out there and meet readers, is crucial to your book’s success.

Goodreads Giveaways a Good Way to Go for New Authors

2011-06-21T22:17:00.000-07:00

Note: Following is a guest post on his experience with Goodreads by one of my clients, Greg Fournier, author of Zug Island: A Detroit Riot Novel, a wonderful coming-of-age story about a young man who experiences first-hand the prejudice and civil strife that led to the race riots of the sixties. You can find out more about Greg and Zug Island at Greg's blog, Fornology: News and Views of Gregory A. Fournier.

Goodreads Giveaways
By Gregory Fournier

Authors without a powerful publishing house behind them find getting publicity and exposure for their books a slow and expensive process. For the cost of as little as one book and postage, an author can run a giveaway on www.goodreads.com by agreeing to a few reasonable conditions.

I have found this promotion the best offer an independent author can find to bring readers to his/her website and book title. My giveaway promotion for Zug Island ran two weeks and attracted 674 participants.

Sixty people have added my novel “to buy” and a like number have placed it on their “to read” lists. That is a combined 18% potential sales conhttp://www.blogger.com/img/blank.gifversion rate. I have read that 7% is a healthy number.

If you have a book coming out soon, or have a book that has been out six months or less, it is easy to run a giveaway. Register with www.goodreads.com, set up your profile and an author’s page, then run your contest. It is that easy. When all is said and done, you will be the big winner.

What Can I Do with $600?

2011-06-11T12:28:00.000-07:00

A self-published, first-time author recently contacted me about publicity for her YA novel. “I only have $600 to spend on promotion,” she told me. “What can I do with that?”

Well, there’s actually quite a bit of exposure that can be obtained with very little cash. I charge $50 per hour for my services, so $600 will buy 12 hours worth of work. There is much that can be accomplished in 12 hours – I can generally get a news release written and up on the news wires, book signing events for a few months out (depending on the author’s platform and willingness to travel), and possibly even squeeze in a little media work.

It’s most important that authors get out there and let readers know about the book. I tell writers that book promotion is like dropping a stone in a pond – the more they get out and talk about their book, the more readers who hear about it will tell others and the word will spread from there. Many authors put their books up on Amazon and create a website or blog and think their work is done. But without some face-time with readers, the books most likely won’t have the word-of-mouth ripple effect that comes from hearing other readers talk about it.

Despite the increasing dominance of the ebook market, authors can still sign at bookstores, and I urge all authors to do so now, while there are still some stores out there (they won’t be around in the future, if current market trends continue). Although most remaining Borders stores have embargoed book orders, there are independent bookstores and other chains, like Barnes & Noble, that are still hosting authors. Many libraries will host book signings for authors, and authors should consider appearances at non-traditional venues (schools, colleges and universities, stores, airports, professional organizations, literary and street fairs, etc.) where their book and subject matter have a fit.

Generally, when I take on any new client, the first thing I do is write a press release announcing the book’s publication and get that up on the newswires. Next, I like to book events, usually for six months out. Once the events are lined up, I will call media (usually about three weeks prior to each event date) to line up print, television, and radio spots. It’s best to have some events to promote, as well as the author and the book, when calling local media, so I find that having events scheduled is extremely important before lining up media gigs.

Having an online presence is important, too. I urge my clients to create active websites and blogs and set up accounts on social networking sites like Facebook and Twitter and reading/reviewing sites like Goodreads, Library Thing, AuthorsDen, and Shelfari.

Finally, I can’t stress enough how important it is to have written a good book. Even if an author were to spend $600 to do some event and media bookings, it’s all for naught if the book is poorly written or riddled with errors. If an author hasn’t had a professional editor work on it, I generally recommend that s/he spend the $600 on having the book professionally edited, rather than waste it on promotion for a poorly written book. Likewise, I recommend that authors hire professional designers to create their book covers and professional photographers to take their author photos. Having a book that is well-written and professionally designed will help make an author’s $600 publicity expenditure worthwhile.

The Sorting Hat Settles at Centrum

2011-04-18T12:34:00.000-07:00

"Oh you may not think I'm pretty, but don't judge on what you see; I'll eat myself if you can find a smarter hat than me."
—The Sorting Hat, opening lines of the 1991 Sorting Hat song, Harry Potter and the Sorcerer's Stone
__________________________________

I live many lives.

By day, I’m a San Diego working mother of two – I run a busy freelance book publicity business and teach communications classes at a local community college. By night, I’m an active mom and wife, cooking dinners, driving kids to sporting events, overseeing homework and social activities, washing clothes, grocery shopping, etc. For each activity, I wear a different Harry Potter-style Sorting Hat: advisor, nurturer, consoler, communicator, parent, and partner.

But my other life is a more personal one; I have been a writer for almost ten years, and somehow managed to get one novel written and published despite the many other hats that find their way to my head. With the writing came some wonderful benefits: a number of lively and friendly writing groups, three artist residencies, all in beautiful places (Oregon, Hawaii, and Vermont), connections with other authors, publishers, agents, and, since my book was a Native American story, the local Pala Indian community, who welcomed me with warmth and generosity. The writing hat fits well, indeed.

But this past year has been a tough one on my writing life, as both of my kids are getting ready to leave for college – one this year, and one the year after. It’s been a hectic time of softball recruiting visits for my daughter and college visits for my older son. But both are finally settled on the schools they plan to attend, so when a friend invited me to apply for an artist residency at Centrum in Port Townsend, Washington, I agreed. The time slot that Centrum offered us fit perfectly with my teaching schedule (it was, luckily, the same time as spring break), so I left my many-sided life in San Diego and have been here in the rainy Pacific Northwest, joyfully allowing the writing hat to slip back onto my head.

The Centrum campus is located on the grounds of Fort Worden State Park, a lovely wide-open green belt, with old-style military barracks, cabins, and apartment buildings scattered across the grounds. There is a youth hostel here, along with some mansion-sized homes and tiny wooden huts. I was first housed in one of the older, two-story apartments, but the building's rickety heater pumped heat non-stop (there was no thermostat in our unit). After two nights of sweating and incessant rattling noise, I asked to be moved to one of the cabins, and that’s where I sit as I write this post.

Fort Worden Park sits on a bluff above Admiralty Bay and the Port Townsend Marine Science Center beach and pier. The views are stunning – from my former second story apartment, I could see almost all of Whidbey Island across the Strait of Juan de Fuca, which glitters in the sun and turns moody and sullen when the sky is cloudy. In my new cabin, I have even more impressive views overlooking the grassy cliffs and the bay down below. The cabin is peaceful, and the heat is – blessedly – controllable and quiet.

Centrum is a beautiful place; it bustles with the comings and goings of visiting artists, writers, and musicians (we saw a magnificent choro -- Brazilian jazz -- concert performed by some of the greatest folk musicians in the world two nights ago). The park also houses families and guests who rent the buildings to explore the Victorian harbor town of Port Townsend. So, there are children here, running across the grounds with their Frisbees, footballs, scooters, and bikes. The place teems with twittering birds and a few well-fed cats, yet it also has a quiet ambience, reinforced by the stately views of the sea and the elegant deer that tiptoe across the grass in the morning to nibble at the clover blossoms. The sun sets later in the day here, bringing with it a clarity and warmth that is soothing and breath-taking at the same time.

I’m happy to be here, in this lovely, northern world. I do miss my husband, kids, clients, and students (and, of course, my own bed), but I know that all the other hats I wear will be waiting for me when I return, refreshed and eager to pick up where I left off.

Complications: A Doctor's Love Story

2011-04-13T19:26:00.000-07:00

I have been meaning to write updates about my clients' books and have been so busy lately that my good intentions have fallen by the wayside.

So, it is with a heavy heart that I've decided to hold true to my resolutions and begin with my wonderful client, Dr. Linda Gromko, and her memoir: Complications, A Doctor's Love Story.

I'm writing with a heavy heart because Linda's husband, Steve Williams, passed away today after a long battle with kidney failure. I didn't know Steve, but I have known Linda for almost two years (we met at the Pacific Northwest Writers Conference in August, 2009). After meeting Linda and working with her to promote her book at bookstores and kidney dialysis conferences, I heard all about what a smart, funny, courageous, and kind man Steve was. He and Linda were certainly well-matched, for she has the same intelligence, warmth, and tremendous wit that he is famous for. My heart is breaking for Linda and her family at his loss, and I hope that she can find some comfort in the outstanding life and wonderful memories that she and Steve created over the years.

Linda's book, Complications, is part love story and part history of Steve's struggle with kidney failure. Though realistic about the rigors of life with kidney dialysis and heart disease, Complications also offers readers a wonderful portrait of sacrifice and hope.

Dr. Gromko’s true story begins with an implausible inheritance from a former patient and her first meeting with Steve, a businessman who is “gifted at banter, irreverently funny, and loyal as a beagle.” Soon after the couple decide to wed, Steve's history of diabetes and high blood pressure leads him to fall precipitously into the abyss of kidney failure. Written from a doctor’s perspective, the book takes the reader on a tumultuous course of medical and personal trials, as Dr. Gromko exerts the most powerful advocacy of her life for the man she loves.

Joe Piscatella, author and President of The Institute for Fitness and Health, endorsed the book with these words: “Dr. Linda Gromko has written a gritty, realistic piece about true life with kidney failure and heart disease. If anything makes a case for prevention and a healthy lifestyle, this book delivers!” And best-selling author Elizabeth Lyon noted: “Dr. Gromko explains everything about the realities of kidney disease, and in a way that readers can not only easily understand, but will also feel on the edge of their seats awaiting the next diagnosis, procedure, victory, or complication. Ultimately, this memoir is a stirring account about hope, commitment, sacrifice, and love.”

I urge all of you who might be interested in kidney disease, dialysis, and modern-day love stories, to purchase a copy (softcover or Kindle) of Complications. As you read, take the time to reflect on the courageous and loving life this couple built together, and send your best thoughts and wishes to Linda Gromko and her family.

Team Truimph

2011-03-13T12:52:00.000-07:00

I don’t have a lot of knick-knacks on my desk (I prefer a clean surface when I’m working), but there are a few treasured items that reside along the perimeter of my work area: photos of my husband and kids, my Santa Barbara Writers’ Conference mug, a banksia nut candle that Dan brought me from one of his trips to Australia, and my prized possession, a small digital clock that I won as a team competition participant in the Coors Light Biathlon.

I won the biathlon prize many years ago, when I was in my twenties and lived in Santa Barbara. An avid cyclist, I spent long hours training and competing in centuries, triathlons, and biathlons along the California coast. My team partner, Deirdre, was a co-worker and a lithe, athletic runner with great speed, who had done triathlons with me in the past. She convinced me to enter this race, arguing that we had a chance to win based mainly on the strength of her running prowess (she was right about that).

Winning this particular competition almost didn’t happen. On the last lap of the cycling portion of the race, the gear-shifting mechanism on my bicycle sheared off as I approached the runners’ transition line. No longer able to make the bike move forward, I ended up running the last few yards on foot, stumbling along in my cycling shoes to hand off the baton to Deirdre. We won the competition by seconds; I imagine that we would not have succeeded if my bicycle’s gears had failed any earlier in the race.

I treasure this particular win, not only because it was one of the few competition victories I can actually claim (I was a decent rider, but by no means a star), but because I won as part of a team. Victories are sweet when they are hard won, but I believe they’re even sweeter when they come as a result of team effort. There’s something uniquely special and uplifting about winning a challenging fight with a colleague at your side. It’s the group mentality, that feeling of connecting with another person and fighting together, that brings about a unique sense of joy that only athletes who participate in team sports can realize.

This sense of team accomplishment carries over into many areas of life, including work and career. Like the world of sports, the business world can be just as competitive (and physically and mentally grinding) as a sporting event. With an accomplished team, all of us are more likely to succeed – we bring our individual talents and strengths to the situations we encounter and, in addition, we are there to prop each other up, cheer each other on, and celebrate our victories together.

I like to think that the author who has a team working with him is damn lucky. My sense is that the most successful authors have agents, editors, designers, publishers, and publicists all working on their side. Without this kind of team, the author who tries to go it alone is like the athlete who competes by himself – success is possible, but the achievements and victories are oftentimes fewer realized and even less acknowledged.

With a good team behind her, however, an author has a much better chance of succeeding on a big stage. Some authors may manage to take the publishing world by storm on their own, but most of the successful best sellers are so because they are published and promoted by the best agents, editors, and publicity people in the business.

One can argue that going it alone has its upside: there is no one to answer to, fewer time delays, and certainly never any argument about how a work should look, what it should contain, or how it is promoted. But the person who chooses to do the writing, editing, cover designing, publishing, and promoting himself, had better be damn good at all these things. Most are not, and the staggering number of poorly written and designed self-published books bears evidence to this fact.

But the author who chooses to build a strong, professional team around him has a good chance of being a winner. Like their athletic counterparts, authors who have talent, train hard, and surround themselves with the strongest teammates in the business, have a much better chance of standing out in the brutally competitive world of publishing than those who choose to go it alone.

Be Focused, Be Prepared, Be Committed – Steps to Take Before Hiring a Publicist

2011-01-15T12:56:00.000-08:00

Most prospective clients who approach me about publicity are new authors who have never worked with a publicist before. Whether self or traditionally published, many of them write to me with questions, the most common being: What would you charge for promoting my book?

My response is always the same: What is it you're looking for? A book tour? Media coverage? Internet exposure? All of the above? And how much do you want to spend? Without knowing what it is an author wants, it's difficult for me to put a price on how much I can do for him

It's also difficult to say how much publicity an author is likely to get without having read the author’s book or knowing a little about her platform.

So, for new authors who are thinking about hiring a publicist, I've composed the following tips on items to consider before calling or sending an inquiry email to a PR expert:

1. What kind of book have you written?
With over 288,000 new titles released each year, it's important to know where your book fits in to the overall market. Is it a young adult novel, targeted for teens, or would younger kids, say 5 -9 year olds, be more likely to read it? Does your mystery fit more in the true crime or detective category? Is your love story a traditional romance or does it fit more under the women's fiction heading? Knowing what you’ve got to sell will help you pinpoint what you have to do (and where you have to go) to sell it.

2. Is there a market for it? If so, who and where is that market?
Once you know what you've written, you need to decide who would read it. Is your audience both men and women, or are only women likely to be interested? Are there targeted niche audiences for your book? If so, where can you best reach them? Be ready to discuss with your publicist who your audience is and where you’re willing to go to get their attention.

3. What kind of experience/expertise/knowledge do you have that can be used to promote your book?
Having a platform is essential for both fiction and non-fiction writers, especially when promoting your book to media producers and reporters. Platform has to do with you (the author), your background, and the level of expertise or recognition you have in your subject area. Before you hire a publicist, ask yourself the following questions: Are you a recognized expert in your field? If not, would you be willing to educate yourself and/or work to establish yourself as such? What is it about your background and experience that makes you an interesting interview for the media? Are you willing speak, write, and blog about your book/subject area? When you speak or meet with your publicist for the first time, be ready to describe what you bring to the table in terms of background and experience.

4. How much are you willing to spend on publicity?
Before you hire a publicist, sit down with your spouse or significant other and decide how much you can afford for book promotion. Review items 1-3 above and decide what will give you the most exposure for your type of book and audience(s). Decide if you're willing to travel to speak, tour, and/or sell your book, and figure out how long you are willing to do that. Plan to create web, blog, and social media sites for your book and estimate the expenses, both time and money-wise, for those. Finally, create a budget that factors in costs for printing and shipping copies of your book, creation of promotional items (bookmarks, posters, fliers, etc.), website development and hosting, travel, hotel, and food expenses for signing and/or media tours, booth space fees, postage, advertising, etc. Also factor in the cost of hiring a publicist (see my post entitled Straight Talk on Book Publicity Costs for more on that) or other professionals (graphic reproduction, ebook formatting, legal, etc.) you might need to help with your book's promotion.

5. How committed are you to doing what your publicist recommends?
I'm always surprised at how many of my clients do the groundwork of hiring me and then, once we begin their promotional tour, panic when they achieve some level of success. As many authors realize after trying to do it themselves, it’s extremely difficult in today’s noisy and crowded publishing landscape to get attention from booksellers and the media. It can take an experienced publicist repeat contacting and hours of follow-up and pitching to get a bookseller, reporter, or producer to agree to an event or interview for a client.

But, despite their desire for exposure, there are always a few authors who balk at doing signings or radio and television interviews once they get them, which is frustrating on many levels. It can be awkward for a publicist to go back to booksellers and the media to say that a client is passing on an event after working so hard to get them to agree to it in the first place. It's also time-consuming to have to revisit plans and goals with authors, who say they want publicity and then waver on following through. Yes, it can be scary to be in front of the camera for the first time or, for some, to have to stand up in front of a group and speak. But a good publicist can provide helpful tips for overcoming those early jitters, and most authors agree that, like any other activity, they get better at it the more they do it. And successful authors know that without that kind of outreach, they would not be able to generate the essential word-of-mouth ripple effect that comes from continued audience exposure.

It's a shame to waste opportunities, especially if an author has done his footwork and has spent the time and money to get the hard-won exposure he needs to successfully promote his book. Be committed to your book’s success, and if you hire a publicist, follow through on her efforts to obtain the promotional attention you seek.

The Nuts and Bolts of Writing a Press Release

2010-11-28T14:55:00.000-08:00

I find in my discussions with new authors that many of them are unfamiliar with what a press release is or how it can best be used. So, I thought I’d provide a brief (okay, maybe not so brief!) overview of important considerations when writing and distributing releases.

Think of your press release as a newspaper article. It should be written so that anyone you send it to can take it as is and publish it in a print publication or blog with minimal changes (and since most of the media are busy people, they will love you for making their job easier!). That means that it should be professional and succinct and should be written in a journalistic (i.e., focusing on the who, what, when, where, and why), third-person style.

Your press release should begin with the line: For Immediate Release, which tells your reader that s/he is free to use the information that follows right away. Immediately following should be the date, written out in full, with the current year included (e.g., November 28, 2010).

Next is the headline, which should always be as succinct and intriguing as possible. Center your headline and be sure to include what’s important, stating what is most exciting or unique in as few words as possible. Here’s an example from a release about my book:

San Diego Publicist Paula Margulies Weaves
A Graceful Tale of Love and Redemption
in Coyote Heart

The body of the press release should follow the headline. I like to use a five-paragraph structure for my press releases:

1) The introductory paragraph. Many PR professionals recommend starting with an intriguing lead-off or hook in the first paragraph of your release. Since I tend to make my initial pitches by phone, I usually forgo the hook and instead open with a journalistic introductory paragraph that gives the who, what, where, when and why of the release. The first paragraph should be prefaced with the city and state where the event or content of the release is taking place. Here’s an example of an introductory paragraph:

San Diego, CA – Book publicist Paula Margulies announces the release of her debut novel, Coyote Heart (ISBN 978-1-933794-16-7), a multi-cultural love story set against the backdrop of the Pala Indian Reservation in San Diego, California. Prior to publication, Coyote Heart received numerous awards, including an Editor’s Choice Award at the San Diego State University Writers’ Conference. Coyote Heart was also a finalist in the Santa Fe Writer’s Project Literary Awards Program, a worldwide competition that included over 350 entries.

2) An informational paragraph or two. In the second and third paragraphs of the release, I like to give a succinct overview of general information about the subject of the release. This should be supplemental information to what you presented in the first paragraph. An example of two informational paragraphs follows:

Coyote Heart tells the story of Carolyn Weedman, a forty-year-old librarian trapped in a troubled marriage with a disabled husband. After a chance encounter with a widowed Pala Indian professor, Carolyn finds herself drawn into an unexpected love affair. Torn by conflicting feelings, she discovers a secret about her husband’s past that forces her to confront her divided emotions and choose between the two men that she loves.

Set against the backdrop of local politics on the Pala Indian Reservation, Coyote Heart explores the intricacies of illicit love and marriage, the strength that comes from sacrifice, and the courage to forgive the injuries of the past. The novel calls on several San Diego landscapes, including the Rancho Penasquitos preserve and the Pala Indian Reservation, to give the story a unique local flavor. Written with haunting natural imagery and lyrical prose, Coyote Heart tells a compelling tale of love and modern Native American culture.

3) Include a quote. Since many in the media will, hopefully, use your press release verbatim, you want to include a quote in your release (so it looks as if you were interviewed by the publication running it). I like to keep quotes to one or two sentences. If you’re writing about your book, a good topic for a quote is what inspired you to write the book. When quoting, always use tags in the past tense (i.e. “said Margulies,” rather than “says Margulies”). Here is a sample press release quote:

“I wrote this novel, in part, because I’ve always been fascinated by what makes a marriage work,” said Margulies. “My sense is that many marriages survive not because the two individuals involved are meant for each other, but because the losses and hardships that they’ve endured forge a bond that is difficult, and sometimes impossible, to sever.”

4) Include a brief bio. The final paragraph of your release should include biographical information about you, but remember to keep it as succinct as possible. Summarize your history as a writer and include information about awards, other publications, media appearances, and any other information that positions you as an expert. I usually end the bio paragraph with a sentence about where the author resides and/or what the author is working on next. An example of a bio paragraph:

Paula Margulies is the owner of Paula Margulies Communications, a public relations firm for authors and artists. She has received numerous awards for her short stories and novels, and her essays have been published in a number of professional journals and magazines. She has been awarded artist residencies at Caldera, Red Cinder Artist Colony, Vermont Studio Center, and Centrum. Margulies resides in San Diego, California, with her husband and two teenagers.

You can also include a final line about where to find more information about you and your book:

For more information on the author or Coyote Heart, please visit www.paulamargulies.com or Kirk House Publishers at www.kirkhouse.com.

5) End with contact info. At the end of your release, be sure to tell readers who they can contact for more information about you. You should include a line that reads: For Further Information, and follow it with your (or your publicist’s) name, address, telephone numbers, email and website information:

For further information, please contact:
Paula Margulies Communications
8145 Borzoi Way
San Diego, CA 92129
T: 858-538-2047
paulamar@san.rr.com
www.paulamargulies.com

If you are sending a release yourself, you may want to include your book’s cover art in the upper left-hand corner as letterhead. Try to keep your release to one-page; if you have to use a second page, be sure to label it as such with your last name and page number.

If your publicist has written the release, be sure to ask permission before changing its content and/or distributing it yourself (if it’s written in her name, then it should come from her).

You will want to use your press release as a follow-up tool when pitching booksellers or the media. Send the release as an attachment, along with your headshot and book cover art (front cover only, in jpg format) after you have made an inquiry for a signing event or media interview.

Once you have a general press release written, you can use it as the basis for announcing new events (media and book signing appearances, awards, re-releases, etc.). You will need to change the release date, title, content paragraphs, and quote (and update your bio paragraph as information changes).

It’s easy to distribute your releases on free press release distribution websites. My favorites are http://www.free-press-release.com and www.briefingwire.com. Some of the free sites will require registration and many of them will offer fee-based advanced exposure services. Some will provide email tracking, showing the number of views your press release receives once it’s on the wire.

Finally, if you have any questions about your release or feel uncertain about writing one yourself, consider asking a publicist or PR specialist to write one for you. Many PR pros are happy to provide this service for you and should be willing to do so for a nominal fee.

How to Get Self-Published Books into Bookstores

2010-11-10T13:48:00.000-08:00

A self-published author recently sent me the following email message:

"I conducted a book signing at my local Walden bookstore and when one of my friends tried to purchase my book a few weeks later, she was told that I was not
in their database. How can I get my self-published book stocked in a real bookstore?"

This is the dilemma for self-published authors -- most booksellers do not want to stock self-published books in their stores, for many reasons: 1) booksellers order thousands of books per year and don't want to have to order from individual publishers. Instead, they order through wholesale distributors like Baker & Taylor or Ingram, where they can place one order for all the different books they want at once; 2) booksellers don't like having to wait for POD books to ship; they would rather order from a distribution company, which has the books already there in its warehouse; and 3) many print-on-demand books are, to put it kindly, subpar -- they have not been edited and/or reviewed before they are printed, so some booksellers feel that self-published books, in general, are not high quality (whether that's true or not, they have that stigma attached to them).

So, what can be done if your book is self-published?

1) If you want to get your book into stores, it's important to have it listed with a distributor. There are a number of independent distributors, like Pathway Book Service or Greenleaf Book Group, that handle distribution for self-published authors. Some of the wholesale distributors, like Ingram, also have divisions for self-published books. If your book is listed with a distributor, you have a much better chance of getting it into independent and chain bookstores. And, in addition to warehousing and shipping your books, distributors can help with other aspects of marketing including sales promotions, negotiating with buyers, order tracking and reporting, and mailing list maintenance.

2) Some of the bigger booksellers, like Barnes & Noble and Borders, have their own distribution centers. To get into those, you have to approach their small press divisions and ask if they are willing to sell your book in their stores. Both of these companies require that you send a marketing plan for your book, along with one or more copies of the book and a cover letter, to the small press division. You’ll typically receive an answer within a few weeks.

3). Even if Barnes & Noble and Borders won't accept your book through their small press divisions, individual store managers can still order from you directly, if they choose to do so. That's why it's so important that you still try to do signings in as many bookstores as possible. If you hold a successful signing in a store, the bookseller may be willing to order copies (although Borders assigns its own numbers, called "BINC" numbers, to books that it carries, so if your book is not in the Borders system, a store manager may not be able to order it).

If you don't do signings, it's difficult for individual booksellers to know about you or your book -- that's why making appearances at bookstores (even with a low turnout) is so important, especially the first six-eight months after a book is released. Booksellers are willing to have self-published authors in their stores, but only if there is a perceived demand for the book and the author is willing to promote the signing and help draw customers to the event. A good publicist can help convince bookstore managers that your book is worthy of a signing appearance and can be instrumental in booking you for print, radio, and television spots that will drive traffic to your event.

If you do land a signing event, many bookstore managers will ask you to bring copies of the book with you and will purchase an agreed-upon number of those books from you the day of your signing. In some cases, you will have to wait to be paid, since the checks come from corporate offices, rather than the individual stores.

4) Consider offering your books on a consignment arrangement with independent bookstores. Most indie booksellers will take a few copies (usually about 5-10) and will want to keep a percentage of the sales (the typical consignment arrangement is 40-60). If your books sell well, you may be able to convince the store manager to stock them on a regular basis.

5) Finally, don't forget that as a self-published author, you have the advantage of being able to control how your book is marketed. In addition to selling in bookstores, you'll want to explore making your book available in as many ebook formats as possible and consider other venues beside bookstores for sales opportunities.

Some Thoughts on Thinking (and Selling) Outside the Bookstore Box by Carol Newman Cronin

2010-10-08T14:40:00.000-07:00

Note: This guest post is by Olympic sailor and author, Carol Newman Cronin, who sailed for the U.S. in the 2004 Olympic games in Athens and has written two fabulous young adult novels: Oliver's Surprise and Cape Cod Surprise. Read what Carol has to say about selling books in places other than a bookstore, and then vist her website: www.carolnewmancronin.com and her blog: Where Books Meet Boats. -PM

Boats Meet Books in Newport:
Five tips for selling books in non-traditional venues

“Author’s Corner - what’s that?”
“You wrote these books yourself?”
“What age group are they meant for?”
“Where do I find a bathroom?”

Those are just a random sampling of the many questions I answered this past weekend at the Newport International Boat Show. Probably not the first place you would think of for book selling, but it turned out to be a great venue for my two Surprises www.carolnewmancronin.com/books.htm. With abundant sunshine and temps in the 70’s, the weather was perfect for boat gawking out on the docks. And once they’d overcome their own Surprise at seeing books - real books - on a boat show booth table, many of the people pouring down the aisles of Tent C were eager to buy some nautical fiction.

The Author’s Corner is a booth provided for those lucky few who are asked to give seminars during the four day event. My seminar (entitled “Where Books Meet Olympic Spirit”) took place before lunch every day, and whether it was because people weren’t yet ready for a sit-down break from boat gawking or due to the vague title, attendance was, well – poor. But sales in the booth were brisk, making the entire effort well worth it.

I had been dreading sitting inside a tent over a beautiful September weekend, and I certainly took several breaks on Thursday and Friday to wander the show and catch up with all my marine industry buddies. But over the weekend, I was simply too busy to get antsy. Handing out bookmarks to anyone who looked like a reader (and US Sailing Team Alphagraphics stickers to all the kids), talking about writing and sailing with those interested enough to stop and chat, and – best of all – signing the books once I’d made the sale; I enjoyed it all more than I expected.

After four days of refining my pitch, I can definitely pass on a few pointers about non-traditional bookselling.

1. Find something in common with the person, and talk about that.
It’s pretty safe to assume that anyone who walks in the door of a bookstore is a reader. I couldn’t make the same assumption about the people walking down the aisle of Tent C, but I could make a different assumption: they were most likely interested in boats (or at least, interested in SOMEONE who was interested in boats). That gave us something to talk about besides the books for sale.

I quickly learned to watch darting eyes, to see if they were caught by the sight of books piled up on a table. Readers notice books; flagging down everyone else by waving a bookmark (or tripping them up) probably wasn’t going to lead to a sale.

2. Create a visually appealing booth that makes it clear what you’re selling.
Since I don’t do many trade shows, I don’t have a lot of big banners that draw in customers. Most people didn’t quite understand what an “Author’s Corner” was right away; it would’ve been very helpful to have a background display that clarified our bookselling/author roles.

Saturday and Sunday our table’s visual appeal was greatly helped by the addition of a large hardback called Steam Coffin.

Author John Lawrence Busch eagerly told anyone who even glanced at his beautiful cover about the first transatlantic steamship. His enthusiasm was infectious, and some of his listeners also bought copies of my books.

Our other booth mate was Captain Graybeard, a boat show veteran who was hawking a wide variety of books, electronics, and weather information – and giving away a free catalog on CD. The world famous cruiser Don Street also made appearances, in between seminars and his visits to the beer tent. So we had something for everyone - softcover fiction, hardcover history, electronic self-help, and nautical legend all represented in the same booth. But many thought we were all selling all of our wares together, rather than independently.

3. Have something to give away that’s easy to carry.
For me, bookmarks work very well as a way to engage people – and I ran through my entire supply. Frequently someone would glance at our table but wouldn’t actually stop until I offered a bookmark. Some just said “thanks” and kept walking, but most would come back to the table and take a second look at what I had to offer. And many of those eventually turned into sales.

4. Have a “special.”
People love to feel like they’re getting a deal when buying at a show, so it’s important to have a special offer. For me it was “Boat show special - two books for twenty bucks.” Only a few people realized they could also buy one for ten bucks…

5. Avoid the hard sell.
There is a well-known parable about the wind and the sun, each trying to get a man to remove his coat. The wind blows hard and then harder, but all that happens is the man clutches the coat tighter to his body. Then the sun comes out, and once the man is warm and happy he gladly takes off his coat.

We’ve all been verbally assaulted walking through a trade show, the human equivalent of the wind blowing harder and harder. After four days of watching my booth mates and the other booth operators around me, I tried to be more like the sun and make people happy. Once I got someone’s attention with a bookmark and had given a very short overview about the books, I asked a question about their boat or where they lived. I haven’t met a boat owner yet who doesn’t like to talk about his or her vessel, and I also enjoyed hearing about all the different ways people work and play on the water.

Selling doesn’t have to be hard. And boat shows, as it turns out, don’t have to be awful – they can be a great chance to find yet another link between boats and books.

Your Fall Book Promotion Checklist

2010-08-30T09:43:00.000-07:00

It's that time of year when the kids are heading back to school and the rest of us are making plans to get out and enjoy the last warm days of summer.

With the change in season and return from vacations (hopefully tanned and rested!), it's time to get serious about promoting your book again. Whether you're a first-time author or a seasoned pro, there's still a lot to do in the way of footwork to ensure that readers know about your book.

Here are a few tips for getting back out there and promoting your book this fall:

1. Sign up to speak at conferences and special events
2. Sign up for book fairs, street fairs, and fall festivals
3. Submit your book to traditional and online book reviewers
4. Contact your local library to schedule an appearance
5. Submit your book to contests and award programs
6. Apply for artist residencies and fellowships
7. Contact blog sites related to your book and set up a blog tour
8. Attend a writers conference near you
9. Join a book promotion group (can’t find one? Start one yourself!)
10. Contact local schools about speaking
11. Start a blog, guest blog on other sites, or beef up your own blog
12. Write articles about your subject matter
13. Update your website
14. Use social networking sites (Facebook, Twitter, LinkedIn, etc.) to update fans about your book
15. Upgrade your promotional items - create new bookmarks,posters, and giveaways
16. Set up consignments at local stores, and check in with those that already have your book on display
17. Create an FAQ or Q & A sheet
18. Get new testimonials from recent readers
19. Contact a book club and offer to speak
20. Wear a t-shirt with your book cover on it to the gym, grocery store, bank, etc.
21. Make business cards with your book cover on them and leave them everywhere you go: at restaurants, in stores, libraries, schools, etc., and include them in return envelopes that come with bills and mailers
22. Create a car magnet sign highlighting your book and where to order it
23. Donate your book to charity auctions
24. Write a press release about something recent that’s happened with you and your book and post it on free wire service websites
25. Volunteer your time for a worthy cause (a great way to help others and let them know about you and your book at the same time!)

You get the idea...there are lots of opportunities out there for telling the world about you and your book. Happy promoting -- and happy fall!

How to Get the Most from Your Book Signings

2010-07-23T14:56:00.000-07:00

Note: Some of my newer clients have asked for info on how to prepare for signings, so I'm reposting this earlier piece for those interested. -PM

Summer is here and it's a great time for authors to do book signings. For those of you getting ready to appear at bookstores for the first time, here are some helpful hints for making the most out of your signing experience:

1) If the bookstore is near you, stop by a week ahead of time and see what kind of promotion the staff is doing for your book. If they don't have anything up, offer to give them posters, bookmarks, magnets, etc., to use in the store.

2) Talk to your friends and family and try to get as many people as you can to attend your signing. Even if they've purchased the book before or attended other signings, ask them to come and help draw people in the store over to the area where you're reading. Send email announcements to everyone in your address book prior to signings and ask your workmates, students, clients, etc., to attend. Mention that you're doing a signing everywhere you go -- at work, in the grocery store, at the bank, etc. Make up simple announcement flyers and leave them everywhere you can (at the library, on bulletin boards, at coffee shops, etc.).

3) Presign a number of the books you're bringing to help long lines move faster. After your signing, see if you can get the store to keep the presigned copies. You can make or order stickers that say "Signed Copy" for the spine of the book -- these will help the books move quickly on the shelves.

4) A few days prior to the signing, advertise your event on local websites that have calendar listings. Many local newspapers and weekly tabloids have event notice forms you can fill out online for free. Some have longer lead times, so start checking the websites early. You can also put a notice in the events section on Craigslist and on other free networking sites.

5) The morning of your signing, call and ask for the manager (if you're one of my clients, the names are on your reading schedule). Make sure the manager knows what time your signing will be held and has everything ready for you, including table, chairs, microphone, electrical outlet (if necessary), etc. Also, find out if your books are there; if they're not, bring at least 20 copies with you.

6) Get to your signing early and make sure tables and chairs are set up and your books are out. I've been to a number of signings where my clients have gotten there and nothing is ready, so be prepared for that. Be sure to place one of your promotional posters on the table with your books, so patrons passing by will see the cover art and, hopefully, stop to hear you speak.

7) Always have extra copies with you, in case you have a big crowd. Bring plenty of pens and don't forget to bring your business cards, so those who buy your books can get in touch with you later or find info on your website.

8) Be personable and friendly to everyone who walks by. Wait until there is a good crowd gathered before starting and, if there's no microphone, make sure you project your voice so those in the back can hear you (practice this at home in front of the mirror). Talk about what inspired you to write the book, what the story is about, what motivates the characters, and what you love about the book. Read a few pages, preferably something that has some action or conflict. Don't read too long -- less is more with public speaking. Those in the audience will often have questions, so be sure to allow for some after you finish. And don't forget to chat with readers while you're signing -- the more impressed the reader is with you and the book, the better chance s/he will tell others about it and help create the buzz you're looking for.

9) After the signing, thank the store manager and other staff who helped you set up. See if they'll stock any leftover copies and don't be shy about asking them to order more copies from your publisher.

10) Bring your digital camera and have someone take pictures of you while you're signing. After the signing, post the photos on your website and blogsite and write about the experience, the readers you met there, the helpful staff, etc. Be positive about the experience (even if it didn't meet your expectations) and encourage everyone to come out for your next signing.

R-E-S-P-E-C-T

2010-07-14T15:30:00.000-07:00

I struggled a little with this blog post today, not because I haven’t written one in a while (which is true, I’ve been delinquent), but mainly because this is not a subject I’m happy about.

My topic today is those agents, editors, publicists, and publishers, who use their social media sites to publicly belittle the writers who have queried them or inquired about their services. I’m talking about the folks who post sneering comments on their Facebook or Twitter pages about manuscripts and query letters they’ve received from authors. These are the comments about bad grammar, overblown plot lines/characters/dialogue, angry responses to rejections, or even deals that go down in inappropriate places (I recently saw a tweet from an agent who crowed that she had made a book deal while she was in the bathroom at her local gym).

In rare cases, there may be a legitimate reason to gripe (I’m thinking about a recent blog post by another agent who received a number of expletive-laden emails from an individual she had rejected), but that griping, in my view, should never take place in a public forum. If a professional has to vent, there are more appropriate venues (i.e., private conversations with coworkers, spouses, or friends) for sharing frustration about submissions, clients, or colleagues. But publicly humiliating authors who submit work, no matter how bad that work might be, is just not acceptable.

A writing professional has to believe that the manuscripts and letters she receives have been sent with the best intentions. Yes, many of these submissions are error-ridden and a great number of the manuscripts are not likely candidates for publication. But there is never a time when it's okay for a literary professional to poke public fun at an author who is making an honest attempt to submit a written work.

Maybe it’s because I’m an author myself, but I cringe when I read giddy Facebook posts ridiculing author submissions. Not only is it unprofessional to do so, it is extremely unkind. In my view, a client submission is a private document and one to be considered with the utmost courtesy. My policy is to never publicly discuss any type of inquiry sent to me, no matter how bad the writing (and I do receive some gems, on occasion) or how mismanaged the cover letter or email message. To me, every writer, along with his work, deserves consideration and a professional, private response from me, whether I agree to represent him or not. And every author deserves some amount of common courtesy and respect for at least having taken the time to produce a written work.

I don’t understand why authors continue to submit to literary professionals who openly belittle them in public forums. To me, a person who bashes potential clients in public is either unprofessional or unkind (or both), and hardly a good candidate for a business relationship.

To writers who are submitting work: I urge you to check out the public forums used by the professionals you plan to query before you submit. You may reconsider after visiting there.

And to my literary colleagues who have indulged in this type of behavior, I beg you to remember: public humiliation, in any form, is unprofessional. If that statement sounds too chastising, I submit this thought instead: Do unto others as you would have them do unto you.

Making Connections: What to Include in an Author Bio

2010-06-06T12:53:00.000-07:00

One of the most important pieces of an author’s media kit is the biographical summary, or bio, which provides the important background information that media folks, booksellers, conference attendees, and, ultimately, readers, seek. A good bio can be more than a means of introducing authors to their market; it also can provide a way to develop a platform for new authors who don’t yet have a lot of experience or a public track record.

So, what kind of information should an author put in a bio, and how much of that information should be included?

I recommend that writers create two kinds of bios: a brief, one paragraph summary that can be used in press releases and for program announcements or spots with limited space, and a longer piece that can be used for media promotion and speaking events.

When I write press releases for my clients, I always include a single biographical paragraph near the end of the release. This paragraph is factual in tone and generally includes the author’s credentials, a summary list of other works and awards, a statement about where s/he currently resides, and what the author is working on next.

In addition to the bio in the press release, I also recommend developing a longer, full-length bio, which is generally three – four paragraphs (I try to keep it to one page) and includes more detailed information about the author’s personal history. This longer bio is the one I use when I approach the media to set up client interviews; it also can be submitted to conference or event organizers to help provide background for program listings and speaker introductions.

When writing a longer bio, I urge authors to include any information that might be of interest to a reporter or producer looking for topics for an article or a radio/television spot. Even if a writer doesn’t have a celebrity background or prior experience publishing, the information provided in the bio can peak interest, especially if timed to tie in with current events in the news.

It’s important to include any tidbits of information that might help a reporter or producer see a possible story for an article or interview. But since public relations is mainly a business of establishing relationships, a thorough and well-written bio can also help build a connection between the reader and the author.

Some potential items to build into a longer bio include:

1. the city and state where the author was born
2. where the author went to high school
3. where the author went to college or trade school and what major and/or degrees s/he pursued there
4. significant achievements, including awards, titles, media coverage, or recognition
5. experience or expertise in specific industries or arenas
6. a list of publications (including ongoing writing gigs), releases, exhibitions, patents, and creations
7. tie-ins or connections to current events
8. volunteer or altruistic work
9. hobbies or special interests related to the content/subject area of the author’s book
10. relevant information on the author’s family members
11. the city and state where the author currently resides
12. future projects or a description of new projects the author is working on
13. links to websites and blogs that provide more information about the author

Not all of this information will be relevant for all authors; writers should take a look at their subject area and background and give some thought to what information might be most useful and interesting when promoting their particular books. If a writer has trouble deciding how much information to include, running a draft by a professional publicity or media person, or a trusted editor or writing partner, can help.

Generally, I recommend that the tone of the bio be professional and simple. Bios are typically written in third person, with the author’s full name used the first time it appears, and only the last name used for each subsequent mention. If an author prefers a more informal tone and wants to use his first name for subsequent mentions, that’s fine, as long this is done consistently. Some authors like to inject humor into their bios, but care should be taken to ensure that the piece is not too cheeky or off-putting and that the bio clearly provides the information that the reader seeks.

Finally, authors should remember that bios are living documents that need to be updated regularly as new information in the author’s life – awards, publications, residential and job moves, personal developments, etc. – occurs.

The Fine Art of Persistence in Successful Book Publicity

2010-04-19T01:50:00.000-07:00

An author asked me recently what I consider to be the most important characteristic to look for when hiring a publicist to promote a new book. I explained to her that while certain factors are crucial – being able to write a good press release, having lots of media contacts, knowing the ins and outs of a particular genre, and being honest, professional, and personable – I believe that the most important characteristic of a good publicist is persistence. For while industry savvy and a long list of connections are the general hallmarks of most experienced PR professionals, those who are really successful are the ones who have made it their business to keep asking for a yes until they hear one.

There is a fine line, of course, between being professionally persistent and being an annoying pest. Booksellers, reporters, and media producers are busy people, and many of them will not mince words if they’re in the midst of a deadline or are dealing with a rush of customers.

And timing is equally important. Call too often, and you can be branded as a stalker. But call too little, and chances are you might never have the opportunity to make your pitch.

What’s important to remember is that bookstore managers and media reps are looking for ways to draw an audience to their bookstore, publication, or news program. They know that their customers love to meet their favorite authors and, for media types, that their viewers want to hear all about what’s hot in the publishing world. But because booksellers and media pros are busy people, we publicists (and authors who do their own book promotion) have to learn to create good pitches and follow up until we have a chance to give them.

As in any business where you’re requesting or selling something, the secret to hearing a yes is to be persistent in a professional manner. And it doesn’t matter if you’re being persistent by telephone or in writing. I prefer to make my initial contacts by telephone. If I’m successful in reaching the person I’m calling, I’ll have my pitch organized beforehand, so I’m ready to pass along the information as succinctly and clearly as possible. If there is interest, I usually send pertinent information (press release, bio, author photo, and book cover art) by email immediately after I call. And I’ll follow up as much as necessary until I have a definitive answer.

Even if I get an immediate yes to my initial request for a signing or interview, email follow-up is crucial. I’ll contact the author to find out if the proposed appearance date and time will work, and then send a confirmation email to all concerned. I’ll also indicate if the author will be bringing material prior to the signing, or go over protocol and content prior to an interview. And I’ll set up a tickler in my calendar to make a follow-up call close to the appearance date (usually the week prior) to ensure that all the details, including event set-up, book orders, time limits, travel arrangements, driving directions, parking, etc., are covered.

If the person I’m trying to reach isn’t available when I make my initial call, I like to leave a brief message explaining who I am and why I’m calling. I then try to get an email address where I can send the relevant information and follow up again in a day or so.

If a person says she’d like to think about offering a signing/interview/media appearance, I try to give her a respectable amount of time – anywhere from a few days to a couple of weeks – to do so before calling again. Sometimes, as in cases where authors are coming to the U.S. from overseas, the timing might be more urgent. I try to account for scheduling crunches by making my initial calls with as much lead time as possible, so that I have enough of a window in which to call back if a contact is difficult to reach, or to follow up if the arrangements are complicated or require some time to nail down.

There is a always going to be the occasional person who will rudely state that his store doesn’t do signings because they’re a waste of time, or the producer who will claim that your client and/or his book are just plain not interesting. But in over 20 years of working in marketing and publicity, I can honestly say that those individuals are the exception, rather than the rule. Most of the book sellers and media personnel you’ll deal with are professionals, and if you are honest and courteous, they’ll respond in kind.

As an example of how being professionally persistent can work, I once had one of my clients call to say that she was going to be in Washington D.C. in a week and could I please set up a couple of book signings for her. A week is generally not enough lead time to set up any type of event, but this particular author was up and coming, with more than one book in a popular genre, so I told her I’d do my best. I managed to set up a library signing, but had no luck with any booksellers. During the last call on my list, I spoke with a bookstore manager who passed on doing a signing, and then mentioned that one of the store’s book clubs would have been interested if my client were coming later in the month. I thanked the bookseller for her time and asked if I could email her some information about the author to pass along to the club anyway. The next morning, the bookseller called me back and said that she’d given the club members the info I’d sent, and they were so impressed with it that they’d decided to move their monthly meeting up a couple of weeks so they could host my client.

The moral of this story is that if you’re organized and professional in your approach, you can usually obtain the publicity you’re looking for. The bottom line is to be persistent, thorough, and respectful of the people you’re contacting. Consider how you prefer to be approached and, when in doubt, treat booksellers and the media accordingly. And, as Winston Churchill so wisely advised, “never, ever give up” until you get the yes you’re looking for.

Book Marketing 101: Ten Tips for New Authors

2010-04-12T13:15:00.000-07:00

I’m often asked by debut authors what they can do on their own to promote their books. Assuming they’ve written the best books they possibly can and built their platforms as much as possible, here are my top ten recommendations for first-time authors with a new book to sell:

1. Write a dynamite press release and post it on free news wire sites.
I usually won’t call a bookseller or a media contact until I have the following at hand: a headshot of the author, a jpg of the book cover art, an author bio, and a press release. Of all of these items, the press release is the most important. Why? A good release is like a complete news article: it contains the title of the book, the ISBN number, the release date, and any other relevant information about the book itself, along with a brief description of the book, a quote from the author, and a one-paragraph bio that includes the author’s background, relevant expertise, and any awards or achievements tied to the book. If you write it well, media experts with little time and news slots to fill will often publish it verbatim, along with any photographs you send.
Once you’ve created your release, be sure to place it on online news wires for distribution. There are a number of free sites where authors can post releases (two of my favorites are www.free-press-release.com and www.briefingwire.com).
2. Create a website.
I’m amazed at the number of authors I meet who don’t have a website for either themselves or their books. A website is like an electronic business card – it functions as a place where readers, booksellers, and media persons can return to find more information about you and your book, including contact and sales information. Many authors who are published by small presses think it’s okay to have their book listed on their publisher’s website. That’s fine, but I still think it’s important that each book have a web presence all its own. If cost is an issue, there are many low cost and free website services available online; look for sites that offer good telephone support and are easy to update and maintain.
3. Create a blog.
One of the most powerful ways to let readers know about your book is to create a blog and update it regularly. Your blog can be about anything: your thoughts on writing, your book and events connected with it, your next book, etc. The important considerations are to a.) give your readers something to think about or some information they can use, b.) blog often, and c.) be sure to comment on other blogs with links back to your website and blogsite.
4. Make yourself known on social networking and reader sites.
Although this can be time-consuming, it costs nothing and is easy to do. Create a Facebook and Twitter page for either yourself or your book and spend time cultivating relationships and inviting friends to join. Look for ning.com sites that are related to your book or to writing in general and list your book there. Likewise, explore sites like Goodreads, Red Room, LibraryThing, Booktour.com, etc., and do your best to stay current with other reading and writing sites that offer opportunities to tell readers about your book.
5. Work your niche.
If you’ve written a book that is of interest to a specialized group of readers, be sure to capitalize on that as much as possible. Whether its genre fiction like romance, fantasy, or mystery, or non-fiction targeted to a specific audience, having a niche can present unlimited opportunities for marketing your book. Create lists of websites, groups, professional organizations, festivals, conferences, etc., that are oriented toward your book and make contact with each of them to see what marketing opportunities they might offer.
6. Work your local booksellers.
Even if you’ve self-published, your local booksellers can be the go-to place for signing opportunities and advice on how to market your books. Talk to both traditional and independent booksellers and see if they’re willing to offering you a signing opportunity, or if they’re willing to order a couple of copies for their shelves. If signing and ordering aren’t options, ask if they host book clubs who might like a speaker, or if they’ll be willing to keep your bookmarks on the counter to hand out to customers. Offer to donate giveaways you’ve created for your book (posters, bookmarks, fact sheets, magnets, etc.). The more you’re willing to offer them, the more apt they are to respond favorably to requests to help market your books.
7. Think outside the box.
For self-published authors who can’t get their books into mainstream bookstores, consider other opportunities for selling your books. These might include sharing tables at book festivals, farmers markets, swap meets, or street fairs, finding venues that will let you sell your book after a presentation or speaking engagement, teaching classes at community colleges and adult education sites, appearances at professional organization meetings, political gatherings, or church functions, or any other place where readers in your niche would be interested in meeting you and buying your book. Join local writers groups and participate in organized events for promoting your book.
8. Don’t forget your local library.
Libraries are a wonderful resource for authors and many of them are willing to schedule individual book signings for local and visiting authors. Some libraries invite writers to open houses and specialty events, and some hold author exhibits. Many cities have both county and city library branches, so be sure to search for info on both when doing your contact research.
9. Enter contests and go back to step 1 when you win.
There are a number of established local and national contests for published authors and many of them hold annual competitions. New authors should be sure to enter their books in as many contests as possible and create a press release announcing any awards they win.
10. Find a group of like-minded authors and meet regularly to swap ideas and tips.
A good book promotion group is just as important as a good writing group. If you can’t find a promotion group for published authors, don’t be afraid to start one yourself (advertise for free on Craigslist and through your bookstore and ning.com connections). Meet regularly to share promotional experiences and advice and, as author Carol Newman Cronin mentions in her blog post on the subject, bounce around ideas.

Bloom Where You’re Planted

2010-03-24T12:51:00.000-07:00

While clicking through television channels the other day, I came across the program of a motivational speaker, who was urging the members of his audience not to wait for tomorrow to make the changes they yearned for today. “Bloom where you’re planted,” he told them, explaining that rather than wait for their situations to be perfect (which may never happen), they should look for opportunities right now, in their immediate lives.

This is great advice for those of you who are thinking about book promotion, but aren’t sure about moving forward. Although the book you’ve just published have may not be as perfect as you'd like, or your platform may not be as developed as you want it to be, there are still opportunities out there. And the best way to take advantage of existing opportunities is to assess what you currently have to offer in the way of published writing, expertise, and experience, and then capitalize on those offerings.

An easy way to assess your current offering inventory is to do a quick platform analysis. So, grab a pen and a piece of paper and jot down your answers to the following questions:

▪ Who is the audience for my book?

▪ How can I reach them?

▪ What expertise or experience do I have that might translate into interesting topics for media interviews?

▪ What are my strengths as a speaker, and how can I capitalize on them?

▪ What are my weaknesses, and how can I overcome them?

▪ How much time am I willing to put into a book tour or promotional campaign?

▪ What am I willing to spend?

Once you know what you have to offer and how much you’re willing to do to promote your book, the planning and execution become much easier.

And, sure, we’d all like to have had more time to write a better book or develop a more interesting or experienced platform, but if a book is ready to be promoted, then the time to do it is now, wherever we’re planted.

So, go ahead -- bloom.

Ten Writers Who Became Famous After Their Deaths

2010-03-05T08:34:00.000-08:00

Note: Many thanks for this guest post by Anne Miller, a print journalist from Houston Texas, who writes for Online Degree. You can find out more about Anne and Online Degree at www.onlinedegree.net. -PM

The old cliché states that artists and writers never achieve true fame or appreciation for their creative output until after their death. While the advent of bestselling authors who peddle their wares on television, radio, and other media outlets, the seductive cult of celebrity has begun trickling its way into the literary world at a much faster pace than yesteryear. But the following writers never had a chance to see the greater influence and love that their painstaking, passionate work earned due to dying before receiving recognition. Some, of course, never actively sought critical or academic renown for their novels, short stories, essays, or poems – though their intentions do not exclude them from proving the old adage true.

1. John Kennedy Toole

Following his disheartening 1969 suicide, John Kennedy Toole would go on to leave a permanent mark on the American literary landscape with his hilarious and heartbreaking A Confederacy of Dunces. His route towards history is indelibly marked by tragedy and well-known to anyone familiar with the brilliant novel and its lesser-known companion The Neon Bible. Toole’s mother Thelma brought the found manuscripts to Loyola University New Orleans professor Walker Percy in 1976. Initially skeptical of her claims that her son was a phenomenal writer, Percy found himself surprisingly bowled over by the grotesquely entertaining Ignatius Reilly and Toole’s pitch-perfect depiction of life in New Orleans and rallied to find a publisher for A Confederacy of Dunces. Louisiana State University agreed, and in 1980 Toole went on to win a posthumous Pulitzer Prize for the novel. Today, it remains a much-beloved work of American literature with a healthy and continuous following – studied frequently in high school and college-level English classes across the United States and subjected to many painstaking dissections by scholars and academics.

2. Franz Kafka

Today considered one of the quintessential existential (and, to a lesser extent, modernist) writers, many unfamiliar with Austrian writer Franz Kafka’s life will be shocked to discover that his intensive influence never coagulated until after his 1924 death from tuberculosis. Kafka actually spent much of his short life working in insurance and factories with the occasional dabbling in theatre. Most of his dark, deeply psychological short stories, novels, novellas, letters, and essays never saw publication in his lifetime – in fact, he ordered his contemporary Max Brod, the executor of his estate, to burn every manuscript without reading them. Obviously, Brod disobeyed these last requests. As a result, Kafka’s descriptive exploration of the more twisted, unknown corners of the human psyche entered into the literary canon. Loved and appreciated throughout the world, critics laud works such as The Metamorphosis, The Trial, and many, many others as some of the greatest literary contributions from the 20th century. They have gone on to heavily inspire not only other writers, but artists, musicians, and other creative types as well.

3. Henry Darger

A curious figure, Henry Darger enjoyed acclaim as an outsider artist and writer after Nathan and Kiyoko Lerner, his landlords, discovered the massive cache of pen and pencil drawings, watercolors, collages, and manuscripts he left behind. After moving into a Lincoln Park, Chicago apartment in 1930, he remained there until his death in 1973. Darger worked menial labor jobs in a hospital before retiring in 1963, and lived an exceptionally solitary existence revolving around attending mass and collecting discarded magazines, newspapers, and books that served as references for his art and inspirations for his stories. Growing up in a traumatic Catholic mission house after his mother’s death forced his being given up for adoption, Darger channeled many of the anxieties and frustrations he experienced into 3 gigantic literary works and a couple of smaller ones. The preservation of innocence and protection of abused children stood as the main themes of his entire creative output, with the seminal 15,145-page The Story of the Vivian Girls, in What is known as the Realms of the Unreal, of the Glandeco-Angelinnian War Storm, Caused by the Child Slave Rebellion as the most visible and popular example. He kept several diaries, some of them about the daily weather, and also penned The History of My Life (a 5,084-page autobiography) and the 10,000-page Crazy House.

4. Emily Dickinson

Like many beloved writers before her and many after, Emily Dickinson spent much of her adult life living like a hermit and was dismissed as a mere eccentric until shortly after her nephritis-related death in 1886. She attended Amherst Academy and studied literature, math, Latin, the sciences, and other disciplines and counted William Wordsworth and Ralph Waldo Emerson amongst her many influences. Keeping to herself, most of her family and peers knew her as a passionate gardener while in private she penned some most unorthodox poetry at the time. Only a small handful of her almost 1800 poems were published during her lifetime, and her sister Lavinia burned a few of her posthumous leavings upon request – mostly letters. However, Dickinson failed to leave behind instructions for some of her notebooks, and as a result her first volume of poetry hit the shelves in 1890 with the help of supporters Thomas Wentworth Higginson and Mabel Loomis Todd. Critics received it with a largely mixed response, though later scholars would come to heap praise upon her experimentations in slant rhyming and unconventional punctuation and capitalization.

5. Sylvia Plath

Sylvia Plath did, in fact, find a modicum of literary recognition in her lifetime before committing grisly suicide in 1963. In 1955, she even won the Glascock Prize for “Two Lovers and a Beachcomber by the Sea.” Following her graduation from Smith College, she guest edited at Mademoiselle magazine to much disappointment – an experience that inspired her celebrated semi-autobiographical novel The Bell Jar - and published the occasional poem in the Cambridge University newspaper Varsity. Plath struggled with mental illness all her life, finding solace in her confessional works that discussed her overwhelming emotions with raw, open honesty. However, this intimate peek into her tumultuous inner life gained far more momentum after her death, with 4 children’s books, 6 works of fictitious and nonfictitious prose (including diaries), and at least 7 volumes of poetry attributed to her name after 1963. Prior to that, she had released The Colossus and Other Poems to a small but largely positive critical base that would later come to prefer her posthumous works. She even won the first posthumous Pulitzer Prize for poetry for 1981’s The Collected Poems. It was the publication of The Bell Jar that fully solidified her place in the American literary pantheon, though. Written under the pen name “Victoria Lucas,” it had been accepted for publication and hit the shelves one month before Plath’s suicide – meaning she never had a chance to actually enjoy the subsequent adulation.

6. Jane Austen

Considering contemporary media’s nigh-obsession with all things Jane Austen – a disconcerting many of them jettisoning the truly biting Regency satire in favor of focusing on the more profitable romances – it comes a shock to many that she never garnered hefty amounts of popularity in her lifetime. Austen did, in fact, publish several of her most beloved novels (Sense and Sensibility in 1811, Pride and Prejudice in 1813, Mansfield Park in 1814, and Emma in 1815) prior to her 1817 death from a disputed disease. Many literary critics and intellectuals spoke well of her spunky parodies of English society, though others criticized the novels for their failure to adhere to Romantic and Victorian philosophies and literary protocol. While never huge, they enjoyed a steady stream of moderate success, and her comprehensive Juvenilia series sent her family rollicking with its cheeky, anarchic humor. In spite of all this, however, Austen remained almost an entire unknown entity until after her death…when her brother Henry revealed in the biographical notes of the posthumously published Northanger Abbey and Persuasion (both in 1817) that she spent her entire literary career writing anonymously.

7. James Agee

Known during his lifetime as a moderately successful literary critic and co-screenwriter for the classic films The African Queen in 1951 and The Night of the Hunter in 1955, James Agee’s alcoholism frequently prevented him from ever achieving fame equal to his talents. A lifelong writer, he wrote for Fortune, Life, The Nation, and Time (he also served as a movie critic for the latter 2), published a volume of poetry (Permit Me Voyage), and released a largely ignored novel (Let Us Now Praise Famous Men) prior to his death by heart attack in 1995. Agee’s most celebrated and studied work, the autobiographical novel A Death in the Family, saw publication 2 years later and earned him a posthumous Pulitzer Prize in fiction in 1958. Afterwards, interest in his oeuvre skyrocketed and eventually earned him a place as one of the most respected American writers of the 20th century.

8. Nathanael West

As with many who worked as screenwriters in the 1930’s, Nathanael West never enjoyed great success for his literary prowess. Prior to his fatal car accident in 1940, West released 12 screenplays (and 1 remaining unproduced), 2 short stories, and 4 novels all while participating in a few writers’ seminars with the likes of Dashiell Hammett and William Carlos Williams. Most of his works – including the celebrated Miss Lonelyhearts (1933) and The Day of the Locust (1939) – drew from his experiences in the tarnished, writhing underbelly of the supposedly glamorous and idealistic Hollywood. It took his sudden and unexpected death to launch any real interest in West’s output, and the 1957 re-release of his collected novels only solidified his popularity. To this day, many regard The Day of the Locust as the quintessential Hollywood satire, offering a portrait into the shady wheelings and dealings of producers, actors, and other movie professionals vying for stardom and glory.

9. Anne Frank

The tragic story of Annelies Frank needs very little introduction. Fans of history and literature alike need to read the young girl’s diary, which she kept from June 12, 1942 until three days her capture by the Nazis on August 4, 1944. Frank died in Bergen-Belsen Concentration Camp in 1945 at the age of 15 as one of the 6 million completely unnecessary Jewish murders during the Holocaust. Miep Gies, one of the women responsible for hiding Frank’s family from the Third Reich, handed her father Otto the famous account. He sought a publisher for it as a means of educating the populace on Hitler’s atrocities, and came to find a valuable ally in historian Annie Romein-Verschoor and her husband Jan Romein. The Diary of a Young Girl was first published in 1947 in The Netherlands, with much of Europe and the United States following shortly thereafter. Critics enjoyed the book as both a harrowing glimpse into life as a hated minority in Hitler’s Germany and as a well-written piece of literature in its own right. Though a teenager, Frank’s experiences granted her work a maturity beyond her years that paradoxically never tarnishes her childlike perceptions of the chaotic world. The result is an entirely necessary entry into the literary canon – a work that absolutely needs reading if humanity ever hopes to quell the possibility of another fascist genocide.

10. Theodore Winthrop

Better known as a Civil War soldier and one of the first Union fatalities, Theodore Winthrop made a name for himself as a Yale-educated lawyer and seasoned world traveler before enlisting in 1861. He published a few articles, short stories, sketches, and essays but garnered little attention beyond the popular, patriotic “Our March to Washington.” Only after his death at the Battle of Big Bethel shortly after entering the army did anyone pay much attention to Winthrop’s writings. His sister, Laura Winthrop Johnson, was responsible for compiling all of his poetry and prose for submission and an eventual collection. At least 5 of his novels hit the shelves posthumously, many of them drawing from his generous academic and travel experiences. However, it was his Cecil Dreeme that garnered the most attention. Challenging and progressive, he turned traditional perceptions of social, gender, and racial roles upside-down using New York University as his backdrop.

No matter their ideology, style, or motivations for writing in the first place, these talented men and women left their undisputed legacy on the literary scene only after passing on. They obtained the level of fame that inadequate, trend-chasing copycats or celebrity-worshipping predecessors and successors only dream about, molding and shaping the written word with oeuvres that far outlived the limitations of human flesh.

New Trend: Book Promotion Groups

2010-02-10T14:03:00.000-08:00

Note: Following is a guest post written by U.S. Olympic sailor and author, Carol Newman Cronin. Carol's first novel,a YA historical called Oliver's Surprise: A Boy, A Schooner, and the Great Hurricane of 1938, was published by GemmaMedia, with a sequel coming soon. When Carol mentioned that she belongs to a book promotion group, I asked if she'd tell us a little about it works. You can find out more about Carol at www.livewirepress.com. -P.M.

The Literary Guerillas: Authors Tackle Promotion, Together

Last fall I got a long-awaited email from writer Roberta Gately: “I sold my book!” Her novel, Lipstick in Afghanistan, (which I’d edited, early on) will be published in October 2010.

We exchanged squeals of glee, and then she asked if she should hire her own publicist.

“Absolutely,” I replied. In this brave new world of publishing, authors are expected to help with marketing—not just retreat to their book-lined study. I specifically recommended Paula Margulies, www.paulamargulies.com, who’d done a great job scheduling signings and drumming up press for the second edition of Oliver’s Surprise.

But I couldn’t answer the rest of Roberta’s questions. And she couldn’t answer mine—questions too vague for an agent, too basic for a publicist, too business-oriented for a writer’s group. Finally, one of us dreamed out loud: Wouldn’t it be great to bounce ideas around with other authors struggling to make their books stand out?

A few days later, Roberta invited me to join her for coffee with Randy Susan Meyers, another debut author. I made the hour and a half drive to Boston and we met at a coffee shop near Randy’s house, planning to chat for an hour or so. All of us had braced for disappointment, like a three-way blind date.

There must’ve been something in the air that day (or an extra shot in our lattes). Two and a half hours later, Roberta looked at her watch and jumped up… she was late for an afternoon meeting, and we hadn’t yet solved all the problems of the publishing world! We agreed to meet again, as soon as possible.

That was the spark; within weeks Randy had fanned it into a blazing group of nine authors I’ve since nicknamed the Literary Guerillas. Three have been recently published, four will be published later in 2010, and two are agented and soon to be sold to a publisher. All of us have already “succeeded” by typical writer’s group standards; the focus of our meetings is book promotion.

We haven’t set too many rules, but the next author to “come out” has priority. In January we met five days before Randy’s very successful launch party for The Murderer’s Daughters. We critiqued the chapter she planned to read aloud, since that was her biggest concern. And we discussed which of several outfits she should wear. (I swear, our “token male” started it.) She later told us it was a great comfort to her at a very stressful time.

In March, Holly Lecraw takes center stage; her book The Swimming Pool, is due out April 6. Holly claims she’s much less prepared than Randy, but she’s already received some great reviews. I’m sure her coming out party will also be a success.

And with additional publishing debuts in May and October (and my sequel coming out in July), the LG’s will have plenty of things to talk about this year.

Best of all, when any one of us has a question, we know right where to go.

Are you involved in a writers’ group focused on publicity/promotion? If so, how is it structured?

Tricky Business

2010-01-19T11:50:00.000-08:00

When I became a novel writer, I had no idea how time-consuming the act of creating a book would be. In addition to the uninterrupted blocks of time I needed to do the actual writing, I discovered that a fair amount of thinking time had to happen in order to get the story where I wanted it to go. For every hour spent putting actual words on the page, I found I needed an equal or better amount of time to conjure up the details necessary to create an imaginary world and people it with extraordinary characters. I needed to think about my storyline, to create a suspenseful and believable plot, to develop a sense of movement and structure, and to make sure that there were high stakes involved. I imagined my characters speaking, so I could recognize their voices; I visualized what their pasts might be, so I could construct their future actions.

Sometimes this thinking time was a conscious effort, where I pointedly outlined different scenarios for the story in my head; other times the thoughts cooked in my subconscious, bubbling up to my awareness at random moments to surprise me or, in many instances, provide a feeling of relief.

I learned that the time I spent thinking about my book was almost more consuming than the actual time I spent putting words on the page. And, frankly, this scared me a little, because as a working wife and mother, there are other people in the world who also needed me to be thinking about them.

All writers sacrifice in order to find time for their writing, and our family and friends and businesses bear the brunt of it. Not only are we physically unavailable while we’re holed up in our writing lairs, but we’re mentally absent, as well. Many of us find that when we’re writing, the stories we’re creating consume our consciousness. Though our bodies are present in the real world, our thoughts are somewhere else.

Unfortunately, the outside world doesn’t wait while we’re living in that creative state – our kids grow up, our parents age, our businesses succeed or fail, the world around us spins forward. We sacrifice our presence to our art, and the price can sometimes be steep.

For this reason, it’s important that we writers take the time to step back once in a while and evaluate whether our desire to tell the story inside us is stealing from other equally important aspects of our lives. Call it whatever you will -- a creative time out, perhaps – but every once in a while it behooves us to check in with those who love and need us. This, of course, is not a mandatory exercise and a lot of writers forego it by choice. But if we don’t balance the demands of the real world with our need to create, the things and people who mean so much to us can sometimes slip away.

It’s a tricky business, this writing thing we do.

My Response to Questions from an Author with a Backlisted Book

2010-01-02T15:23:00.000-08:00

Happy New Year to all! I'm wishing loads of success to all the authors out there hoping to sell their books this year.

I recently heard from an author I met while giving a presentation at an out-of-state writers' conference this summer. He wrote to ask what I thought about his book, which had been published by a small press a couple of years ago. He's had some interest from a film producer and wanted to know what I thought about his chances of promoting the book this year.

I thought I'd share my response to him with those of you who are thinking of marketing a book that has been out for a few years (some details have been changed to protect his privacy). I hope you find this helpful! -P.M.

Hello Friend:

Happy New Year! Hope 2010 is a good one for you and yours.

Congratulations on the interest from a film backer. If the offer is legit, my advice would be to pursue that opportunity. You might need to hire someone to write the screenplay (or write it yourself), but once you have it done, you can shop it around to others if this person doesn't come through.

I did read your book when I returned from the conference this summer. It had a good voice (kind of noirish, I thought) and seemed geared toward male readers.

If I recall, the book was written and published a few years ago -- is that correct? If so, that's a bit of a problem, because backlisted books are hard to promote to booksellers for signings -- they usually want books that are recently released (six-eight months is the typical book tour life cycle for a new release). Also, as you probably already know, the book selling market is really shrinking. Experts are forecasting that over 400 independent bookstores will close this year, and the big brick-and-mortar sellers (Barnes & Noble and Borders) are struggling. I heard that Borders resurrected itself from bankruptcy, but my experience with them this year is that they are still in trouble (slow to pay and unwilling to list new authors I've sent their way).

The e-book market is rapidly expanding, so if your publisher hasn't created a Kindle edition of your book, ask him to do that as soon as possible. Price it reasonably ($4.99 is the maximum price I recommend for a book by an unknown author). Make sure the Amazon listing includes reviews and is linked back to your paperback version. The nice thing about e-books is that they sell themselves -- the market is growing, and new Kindle, Nook, Sony eReader, and other mobile ebook device owners are hungry for material to download.

As for promoting the hard cover version, I recommend that you do as much as you can to develop your platform. I'm assuming you're an expert on ________, so you may want to consider a speaking tour on the topic. I imagine there are groups dedicated to your book's topic, and you probably know who and where those are. It would be great if you could develop a talk or presentation that you could give at group meetings (your accountant would know if these trips can be a tax write-off, so keep all your travel receipts).

You also might consider developing a blog on the topic and trying to appear as a guest blogger on other sites (this is a great way to build your platform). Keep it active and try to post as often as possible (once or twice a month at a minimum). Another good way to develop interest in you and your book would be to write articles and submit them to journals, magazines, online sites, etc. Always give a brief one or two-line bio and links back to your website and/or publisher's site at the end of each guest blog post and article.

Once you develop a following from your speaking and blogging/article work, that would be the time to try to book some radio and TV appearances. But you have to build a platform (i.e., develop some notoriety and expertise) first -- otherwise, it's a tough sell to the radio and TV producers.

Hope this info is helpful. Let me know when you plan to be here in San Diego, and we'll get together for lunch.

See you soon! -Paula

Five Ways to Create Inspiration

2009-12-19T11:10:00.000-08:00

Paula's note: I've been wanting to write about inspiration and came across this wonderful post -- which first appeared as a guest post on Cassandra Jade's site -- by author and blogger, K.M. Weiland. Katie was gracious enough to give me permission to reprint her very astute and insightful description of this critical element of the writing process. Enjoy! -P.M.

I think it’s safe to open this post with a broad, sweeping generalization: We write because of inspiration. Not only because without inspiration we wouldn’t have anything to write about, but also because inspiration is the writer’s version of runner’s high. It’s this top-of-the-world, explosion-of-joy experience that makes the personal sacrifices and hard work of the writing life more than worth it.

Inspiration, however, is a slippery thing. Ultimately, it is intensely personal, unrepeatable, and often unresponsive to conscious prodding. You can’t force inspiration. It either happens or it doesn’t. You can’t sit yourself down at your desk, squeeze your eyes shut, and demand that inspiration appear in front of you complete with a drumroll and a puff of smoke. Inspiration is a gift, and like all gifts it must be treated with gratitude and responsibility.

But none of this is to say that we can’t position ourselves in the path of inspiration. Instead of just waiting around for the muse to hit us in the head with a lightning bolt, we can learn, in a sense, to create inspiration. Following are five ways I’ve learned to be receptive to inspiration. Inspiration, after all, is all around us; we just have to learn to become a conduit for it.

1. Look at the world through the lens of your story. When I’m in the midst of brainstorming a story, I wear it like a cloak. I, in essence, look at life through the lenses (rose-colored or otherwise) of my story and its characters. I’m washing dishes, walking the dog, running late? Maybe my characters are too. I hear a song on the radio, and it becomes an anthem for the scene I’m working on. I pass an interesting old codger in the mall, and suddenly he’s running amok among the characters in my head.

2. Listen to your subconscious. Never underestimate your subconscious. When you’ve come to a snarl in your plot, don’t think too hard. You can only push your conscious brain so far. On more than one occasion, after I’ve backed myself and my characters into a seemingly insurmountable corner, I’ve sat at the keyboard for hours, racking my brain for an answer that just wouldn’t come. But when I return to the problem the next day, after my subconscious has had a chance to mull over the matter for the night, the solution is practically staring me in the face. When you come across an interesting snippet of an idea that you aren’t quite certain how to develop, toss it into your subconscious for a while. Sometimes ideas stew in the back of my mind for years before suddenly reappearing on center stage as something worth pursuing.

3. Lollygag creatively. Novelist Michael J. Vaughn, who coined the term “creative lollygagging,” purposely looks for mindless tasks (gardening, walking, pulling weeds) to occupy his hands, while his brain stews on his story. “We are not talking about sitting around on a couch. Just as a satellite dish needs electricity, you need some blood pumping into that brain. Next, consider low focus. The activity shouldn’t be so intense that you don’t have time to think (Grand Prix and ice hockey are out). Look for a mellow pursuit, surrounded by low-level distractions.” (From Vaughn’s article “Creative Lollygagging” in the December 2006 issue of Writer’s Digest.)

4. Combine stories. Like most every other writer on the planet, I have at least half a dozen stories romping around in my brain at any given moment, most of them in need of that spark of “something” that will suddenly transform a gem of inspiration into a full-fledged concept worthy of my time and attention. Stories require many layers, and usually they acquire their layers organically. But some of the best complexities in my stories have been the result of combining two (or more) entirely different stories. Juxtaposition creates instant conflict, originality, and depth. Take a look at some of your embryonic stories and see if you can get something special by combining one more of them.

5. Feed the muse. Your creative mind is a living organism that requires just as much attention and nurturing as any visible part of your body. Lavish it with care, and it will flourish. Feed it just as carefully as you would your stomach. Nourish it with quality literature, movies, music, and art. Let it lap up the offerings of other artistic minds—and just see if the muse doesn’t take off running all on its own!

Finally, and most importantly, don’t wait for inspiration. We’d all like to take up permanent residence in that rarefied atmosphere where the “inspiration high” is a constant state of being. But, as all writers discover sooner or later, that high will inevitably run dry. If we allow our writing to dry up with it, we’ll never so much as finish a story, much less be read by anyone. Inspiration is much more likely to strike when your mind is active. So even on the days when the mental well seems to have evaporated and blown away in clouds of steam, sit yourself down at your desk and keep writing. Inspiration, after all, is really a very small part of the big picture.
_________
K.M. Weiland writes historical and speculative fiction from her home in the sandhills of western Nebraska. She is the author of the historical western A Man Called Outlaw and the recently released medieval epic Behold the Dawn. She blogs at Wordplay: Helping Writers Become Authors and AuthorCulture.

Seven Ways to Make Hiring a Book Publicist More Affordable

2009-12-01T08:36:00.000-08:00

Hiring a publicist can be an expensive proposition, especially for self-published authors and those whose books are published by presses that offer little or no marketing support. With some publicists asking $1500 - $5000 per month in fees, authors are often surprised by the amount of money they need to spend to get the word out about their books.

But publicity doesn’t have to be a bank-breaker. Here are some tips you can use to help defray costs when working with a publicist to promote your book:

1. Plan ahead
The best time to start planning how you’ll market a book is while you’re in the process of writing it. Think about who might want to read your book, where you’re most likely to find those readers, and how much you’re willing to spend on reaching them. If you plan to self-publish, research PR pricing in your subject area and start setting aside cash early, so that you’re prepared for costs when your book is published. Any amount is fine, as long as you’re willing to live within those monetary limits when your book comes out. If you’re offered an advance on your manuscript, don’t spend it -- save it to create promotional material, advertise, hire a publicist, and/or cover travel costs when your book is released.

Once your book is published, think about what you want in the way of events and media coverage. Decide who your readers are, and consider the different niche categories and venues you might explore to reach your audience. The more clarity you have about who your audience is and what you want in the way of publicity, the more you’ll be able to articulate that to a potential publicist.

2. Shop around
Get the names and numbers of publicists in your price range or area of expertise and spend some time getting to know them. Ask for references and talk to those individuals – they’ll give you a good idea of what it’s like to work with the person you’re considering hiring. Discuss your needs with potential publicists and be certain that they have the experience and contacts to do what you want done. Know how each individual publicist bills, how she provides updates, and when she expects to be paid. If you work on a contractual basis, ask to review the contract first, and don’t be afraid to make changes based on your own expectations.

3. Negotiate
Everything’s negotiable these days, and that includes public relations services. If you cannot afford a publicist’s fees, offer to pay what you can afford and see if there is some work the publicist is willing to do for that amount. Consider prepayment options – perhaps a publicist would be willing take a percentage off her rate if you offer to pay in advance for a set amount of work, or if you can guarantee a number of hours per week. Be creative, but be fair – if what you’re offering doesn’t cover what you expect the person you’re hiring to do, the relationship most likely won’t last.

4. Be prepared
The more footwork you do up front, the less you’ll have to pay your publicist to do. Learn how to write a press release and generate one that your publicist can either use as is or as a source for key information. Once your press release is finalized, post it on free sites on the web. Create a bio, Q & A, and brief synopsis, so your publicist doesn’t have to spend time on these pieces herself. Research venues, media, and blogsites you’re interested in, and provide your publicist with contact info – the more you do up front, the less she will have to do for you.

5. Participate
Once your publicity campaign begins, be a willing participant in the process. Keep your publicist informed of commitments and dates you’ve scheduled on your own, so he doesn’t double book you. Offer information and assistance with locating media in the areas on which you’ve focused – oftentimes a publicist will be trying to book you in a part of the country (or outside it) with which he is unfamiliar. If you have first-hand knowledge of certain city, county, and state areas, libraries, booksellers, and media outlets, share what you know, so that he doesn’t spend extra time on research.

6. Partner up
Even if you haven’t coauthored a work, there are plenty of other authors out there who are published in the same genre and niche market as you. Work with those writers to team-up at book signings, workshops, trade shows, and fairs. Share costs on booths, travel, and even publicity work by doing events jointly rather than alone.

7. Develop a backlist strategy
While it’s true that the window for marketing most books is during the first six-eight months after they're published, you’ll still want to promote your book once that time period has passed. Even if you choose not to continue appearances and book signings after the first year, you’ll want some kind of promotional effort in place for the months that follow. Work with your publicist and your publisher to develop a marketing strategy for your book once it’s backlisted. Enter your book in contests and issue press releases when it wins awards or garners any other news-worthy attention. If your book first appears in hard cover, consider a re-release in paperback form. Write columns and blog posts, and use social networking and a strong web presence to keep your book in the public eye.

No Excuses

2009-11-24T15:49:00.000-08:00

Because I work from a home office and will use any excuse I can to get away in the middle of the day, I slap on my loosest sweats and head out to a yoga class twice a week at the 24 Hour Fitness Center in the nearby town of Rancho Bernardo. There are two different instructors, one on Tuesday and another on Thursday, for the 11:30 a.m. class slot, but the group of students is pretty much the same for both classes. Because RB is made-up of mostly retired residents, my fellow practitioners tend to be on the older side. I don’t mind this at all; in fact, I find that many of the silver-haired enthusiasts who roll out their mats next to mine are quite limber and can kick my 53-year-old rear end on any given day.

One of the ladies in the classes (they’re made up of mostly women, although there are a few die-hard men who show up every week), is battling breast cancer. We’ve spoken a few times, enough for me to know that she has a grown son in New York and a daughter who is finishing her college degree here in San Diego. This woman has lost all her hair to chemotherapy treatments and sometimes comes to class with a bandana covering her head. On some occasions, she appears with a bandage on her arm; I don’t ask, but I assume it’s from having had a recent chemo treatment.

Even though my yoga friend is battling cancer, she’s a committed regular, who arrives at class every Tuesday and Thursday, chipper and ready to go. She warms up with the rest of us, babbling about kids, weather, cooking, and the latest substitute teacher, and enthusiastically assuming the starting seated position, despite the fact that the hair on her head is growing back in downy tufts and her arm bears evidence of the latest poisonous chemical concoction. She performs each pose fiercely, never taking the easy way out (as I sometimes do) by sinking into Child’s Pose instead of Downward Dog, or stopping in the middle of an asana to take a drink of water (something a few of the others do occasionally). Matter-of-fact and friendly, she doesn’t complain about the rigors of a particular class or the side-effects she endures. She appears centered, focused, and willing to participate, reminding the rest of us that each measured breath we take, in class or out, is a gift too precious to waste.

I couldn’t stop thinking about her today, on my way home from a class that went a little longer than usual because the instructor had arrived late. To make it up to those of us who waited for her, the teacher (a substitute) gave us an extra half-hour of postures. It was one of the best classes we’d ever had, and the group seemed particularly focused and in sync during this session. But it was long and tiring. Even the younger students were quieter than usual afterward, reaching for their towels to wipe the sweat from their brows and blinking at the bright sunlight as they stumbled out into the gym parking lot.

Despite the length of today’s class, my friend with the bandage on her arm and the cloth around her hairless head stretched, posed, and balanced with the rest of us, in tune to the vibes around her, never once complaining or giving in. Not once. Ever.

So, the next time I start to mentally complain about the number of calls I have to make for my clients, or the fact that my house is a mess, or the kids aren’t helping enough, or that I need to sit down and write some pages if I’m ever going to finish my second novel, I’m going to remind myself about my yoga friend.

And the next time I feel the urge to skip a class because I’m feeling too tired or lazy to go, or decide to blow off writing because I’m not mentally in the mood or don’t want to do the work of focusing on it, I’m going to think of her.

Because, heck, if she can show up to class twice a week and give it her all, with no complaining or excuses, then, certainly, so can I.

Happy Thanksgiving to all! And to my fellow yoga practitioners: Namaste.

Tips for Doing Radio and Television Interviews

2009-10-16T14:29:00.001-07:00

Appearing on a radio or television show can be an important part of your book publicity efforts. But for some authors, especially those who spend the majority of their time in front of their computer screens writing, the thought of appearing on camera or tape can be terrifying. To help you get ready to for that infamous close-up, here are some tips for appearing in-studio for radio and television interviews:

1. Once you’ve booked an appearance at a radio or television station, find out who will be doing your interview. Make sure that the person interviewing you has a copy of your book in advance and, in addition to your press release and bio, a Q & A or FAQ sheet with standard questions, so that s/he is prepared for your segment.

2. Give yourself plenty of time to get to the studio where your interview will be taped/shot. Confirm directions and parking availability, and allow between 1-2 hours for the interview.

3. For television interviews, most media outlets recommend that your attire be business casual. If you’re not given specific instructions by your publicist or media contact, plan to bring several options for the wardrobe department to consider. Try to avoid solid black, solid red, solid white, super busy prints and shiny fabrics. Also, remember that in some interviews, the viewers will only see you from the waist up, so, it may not matter what kind of shoes or trousers you wear. Usually there is a wardrobe person on set who can steam your clothes to ensure they are ready-for-camera. And there are often some additional wardrobe options available on set.

4. Women who are interviewed on television should also consider bringing a few jewelry options to go with the outfits they bring along. Smaller jewelry may be harder to see on camera, so bring necklaces and earrings of varying sizes. Men should plan to bring along extra ties with different color schemes (avoid busy or wild prints and shiny fabrics) to go with their shirts and jackets.

5. When you arrive on set, often your first stop will be make-up. If you have allergies to certain products or are wearing hard contact lenses, be sure to tell the person doing your make-up ahead of time (I once lost a contact lens when a make-up person got too ambitious with her eye shadow brush while prepping me for a commercial shoot).

6. After make-up and wardrobe, you’ll be escorted to the stage area of the studio, where you’ll be seated in a chair and interviewed by a producer or news anchor. S/he may ask you questions ahead of time to get a sense of how you respond. Use any prep time you’re given to ask questions you might have about speaking into the microphone or where to focus your gaze during the interview.

7. When sitting in front of the camera, remember to sit up straight and try not to tilt your head when you talk. Also, be sure to look at whichever camera you’re instructed to face, even if there are lights or other cameras off to the side. While the interviewer is asking questions, look directly at him or her, and don’t forget to smile!

8. When answering questions during radio and television interviews, it’s a good idea to rephrase the questions you’re asked, so that they are somehow included in your answer. For example, if you’re asked how long it took to write your book, you might answer, “It took me three years to write the first draft of My Great Novel," rather than simply, "Three years." Try to answer in complete sentences, and be sure to use the title of your book as often as possible.

Note: If you have issues with your voice, practice speaking into a tape recorder before doing radio interviews. Play back your recordings and notice where you may have raised or lowered your voice, or inserted too many "ums" and "ahs." Before television interviews, have someone film you on a video camera, or practice in front of a mirror. See if you’re smiling enough, if you’re keeping your eyes focused and your head is straight while you talk. And don’t forget to practice using gestures with your hands to emphasize points (or tone it down if you move your hands too much).

9. Try to relax and forget that you are being recorded or on-camera. Doing a radio or television interview is a great opportunity to introduce yourself and your book to potential readers. Be yourself and have fun!

10. When your interview is over, be sure to thank the producers, anchors, and staff members who helped you that day. Also, find out when your segment will air and if there are clips or CD’s available of your interview. Let everyone on your email lists and social networking sites know when your spot is airing, and don’t forget to post any clips or audio recordings of your interview on your website or Internet fan page.

What Makes a Good Memoir?

2009-09-18T08:35:00.000-07:00

As a publicist, I’m sent books of all genres by authors interested in my services, but lately I seem to be on the receiving end of a lot of memoirs. I’ve also spoken to a higher-than-usual number of memoir writers, who either telephone or approach me with questions at writer’s conferences. The bulk of these conversations have to do with why their memoirs aren’t selling and what the authors can do to make them better.

My first suggestion for all memoir writers is to take a look at their market and identify the different types of people who would want to read their book. This is tricky, for while many memoir writers have done a good job of detailing certain aspects of their personal history, a number of them have not thought about who might be interested in reading what they’ve written.

A lot of memoirs I’ve seen recently are nothing more than personal recountings of an individual’s experiences – some of which are, indeed, memorable. But I’ve found that a great number of memoirs contain information that might only be interesting to the author. In this category, I include stories about having a child out of wedlock, rescue missions by health care workers, struggles with family members over an elderly relative’s care, vacations or trips abroad that the author found life-changing, collections of stories that the author told his/her children while they were growing up, or collections of a family member’s letters from World War II. Although engaging and, occasionally, entertaining, books with these topics typically focus on material and/or experiences that a number of us have already encountered in our own lives. And, thus, because we readers are familiar with the situations ourselves, stories like these don’t always make interesting reading.

So, what makes a compelling memoir? I believe that in order to become a bestseller, a memoir must have a strong storyline. That means that there is a beginning, middle, and end to the events that are recounted in the book. Examples of breakout memoirs with clear timelines are Isak Dinesen’s Out of Africa, where the author, Danish baroness, Karin von Blitzen-Finecke, describes the political and emotional barriers she faced while trying to build a coffee farm in Kenya, and Before Night Falls, by Reinaldo Arenas, the rebellious and flamboyant Cuban poet and playwright, who describes both his early years as a homosexual artist under the Castro regime, including his imprisonments and escapes, and his last days as an exile in the United States.

Successful memoirs also have compelling or distinct characters in them. Just like fiction, a good memoir will introduce the reader to individuals who are memorable and, sometimes, highly unusual. Examples include Augusten Burrough’s mother, Deidre, and her unorthodox psychiatrist, Dr. Finch, in Running with Scissors, or the sadistic mother in A Child Called It by Dave Pelzer.

Oftentimes, as in fiction, the individuals in a memoir will be sympathetic, so that readers strongly identify with them. This is particularly true of Eat, Pray, Love by Elizabeth Gilbert, who begins her book by depicting herself in a heap on the bathroom floor, devastated by a recent divorce, or Joan Didion in The Year of Magical Thinking, who lost her husband to a sudden heart attack and shares the aftermath with the reader in a way that is heart-wrenchingly honest.

Another reason for the success of these two memoirs is the fact that they both tell love stories. In Eat, Pray, Love, Gilbert begins the memoir with the loss of love (after a failed marriage) and then ends it with the start of a new relationship with the man who will become her next husband. Likewise, Didion recounts the significant moments of her marriage to her husband, John Gregory Dunne, as she describes her attempts to grapple with her grief at his passing. These two books are skillfully written, with clear, strong voices and brave directness, and both authors draw painful moments with great tenderness.

People in successful memoirs often face situations with high stakes consequences and experience an emotional trajectory, or arc, whereby the individuals are changed somehow at the end of the book. Many memoirs have to do with the author or a parental figure teetering on the brink of alcoholism (Don’t Let’s Go to the Dogs Tonight by Alexandra Fuller), destitution (Angela’s Ashes by Frank McCourt), poverty and spousal abuse (All Over but the Shoutin’, by Rick Bragg), drug addiction (A Million Little Pieces, by James Frey), cultural adversity (Three Cups of Tea by Greg Mortenson and David Oliver-Relin), and life-threatening adventure (Into Thin Air by Jon Krakauer). What makes these books stand out above the others is that in all of these stories, the authors and/or their loved ones faced extreme circumstances – incarceration, kidnapping, starvation, emotional abandonment, and, sometimes, immanent death – and somehow survived.

In addition to the victim/survival type memoir, there are celebrity memoirs, where the author recounts his own story as a celebrity or his experiences living or working with one (examples include Here’s the Story by The Brady Bunch star, Maureen McCormick, or Everything about Me is Fake and I’m Perfect by supermodel Janice Dickenson). There are also tell-all or insider memoirs, where the individual describes events in an environment that most of us would never have a chance to experience. Many of these are political in tone, such as John Dean’s Blind Ambition, the anti-Nixon tome published in 1976, or George Stephanopoulos’s All Too Human, which describes intimate details about the first family during the Clinton administration.

The message here is that unless your memoir is something like the ones I’ve mentioned in this post, you might have a tough time selling it. That doesn’t mean that authors shouldn’t write memoirs – on the contrary, writing a memoir can be a wonderfully revealing and cathartic experience for the author and of great significance to family members and friends. But to reach further audiences, memoirs that don’t involve a celebrity connection or insider information must have a definable storyline, remarkable characters, high stakes, and a great love story – or some combination, thereof – in order to experience breakout success.

How to Be a Poet

2009-09-05T13:59:00.000-07:00

Because I am in awe of anyone who can write poetry (I, sadly, lack that skill), and because Wendell Berry is one of my favorite poets, I give you:

How to Be a Poet

(to remind myself)

By Wendell Berry

Make a place to sit down.

Sit down. Be quiet.

You must depend upon

affection, reading, knowledge,

skill— more of each

than you have— inspiration,

work, growing older, patience,

for patience joins time

to eternity. Any readers

who like your work,

doubt their judgment.

Breathe with unconditional breath

the unconditioned air.

Shun electric wire.

Communicate slowly. Live

a three-dimensioned life;

stay away from screens.

Stay away from anything

that obscures the place it is in.

There are no unsacred places;

There are only sacred places

And desecrated places.

Accept what comes from silence.

Make the best you can of it.

Of the little words that come

out of the silence, like prayers

prayed back to the one who prays,

make a poem that does not disturb

the silence from which it came.

Using Q & A's and FAQ's to Your Advantage

2009-07-24T11:51:00.000-07:00

One of the least expensive ways to promote your novel or non-fiction book is to create a Q & A or FAQ and ask bloggers to post it on their blogs and websites. These postings can be coordinated to appear at certain times/dates (this is known as a blog tour), or you can approach individual bloggers and ask that they list your information in future posts.

It's easy to create Q & A's or FAQ's -- use simple questions that all readers want to know about writers, and write brief, sincere responses to them. Examples of commonly asked questions include: What was your inspiration for this novel/book? How long did it take you to write? Who are your favorite authors and why? What is your next novel/book about?

Once you have a list you like, send it with a jpg of the book cover art, an author photo, and other information about your book (ISBN number, ordering information, links to websites, etc.). It's good protocol to follow the blogs where your information is posted and to include links to that blogsite or website on your own sites. Also, don't forget to thank those who agree to post information about you and your book after the post has run.

Here is a sample FAQ I use for my own novel, Coyote Heart:

Coyote Heart by Paula Margulies
ISBN: 1-933794-16-X
Publisher: Kirk House Publishers, April 17, 2009
$15.95
www.amazon.com
www.kirkhousepublishers.com
www.paulamargulies.com

Frequently Asked Questions

1. How long have you been writing fiction?
I started writing fiction about nine years ago, when I was in my mid-40’s (kind of a mid-life crisis, I suppose). I was an English major in college, but I studied composition and teaching, and had never taken a creative writing class.

2. Where did you learn fiction-writing?
In 2001, I took an Intro to Creative Writing course at Mesa College. I wrote a few short stories that won some awards, and took one of them to the San Diego State Writer’s Conference in 2003, where it won the Editor’s Choice Award from Brenda Copeland, who was then an editor at Simon and Schuster. She suggested that I try writing novels instead of short stories, and I decided to take her advice.

3. Where did you get the idea for this novel?
I had the idea for a short story about a married woman who falls in love with a Native American man. I don’t know where this idea came from, but I kept seeing the image of the husband, who I imagined had been in an accident of some sort, sitting in a chair with a rifle in his hands and his arms raised up in an Indian victory gesture. This image haunted me so much that I began a story about it, and that evolved into the novel, Coyote Heart.

4.How long did it take you to write this novel?
One and a half years.

5. How long did it take to get the book published?
I began Coyote Heart (then called Bow and Arrow) in 2003 and finished it in 2004. In January 2005, I took it to the SDSU Writer’s Conference, where it won an Editor’s Choice Award from Shaye Areheart, an editor at Crown Publishers. I met my agent, Bob Tabian, at the same conference, and in 2008, I was offered a royalty contract by Kirk House Publishers.

6. How did you find your publisher?
After the book made the rounds with the bigger publishing houses from 2005 – 2007, I submitted it to some university and smaller presses. One of them, University of Nevada Press, held it for one year and almost took it (it made it through internal and external reviews, but the editorial staff passed on it in a final publishing meeting). Kirk House was one of the small presses originally approached in 2007; they extended an offer in 2008.

7. Do you have a favorite character?
I read somewhere that an author should love all the characters in her novel, and I feel that way about this one. They are all flawed and all have suffered some kind of loss, which makes me feel for each of them, but if I had to pick one, it would have to be the husband, Everett Weedman. He is a rational man, who likes order and logic in his world yet, at the same time, he has a deep love of nature and he’s willing to sacrifice for what matters.

8. What is your next novel about?
I am working on an historical novel called Favorite Daughter, which is about Pocahontas, who tells the story in first person, in her own point of view. I recently read Sena Jeter Naslund’s novel, Abundance, which tells the story of Marie Antoinette in her own voice and was fascinated by the way it dispelled so many myths about her character, while showing us who she really was as a person. I’m trying to do the same thing in Favorite Daughter, by telling the story from Pocahontas’s perspective and letting her show us the true nature of her relationship with John Smith and how she came to play such a significant role in American history.

Factors to Consider When Plotting a Novel

2009-07-11T09:57:00.000-07:00

Over the years, I’ve had some fabulous writing instructors here in San Diego. Some of the classes were taught at the UC San Diego or San Diego State University extension programs, others were at local community colleges or writing organization meetings. A few of the wonderful teachers I’ve had include Drusilla Campbell, Carolyn Wheat, Bonnie Zobell, Mary Balogh, and Diane Dunaway – all talented writers, in addition to being great instructors.

I recently came across notes from some of these classes and thought I’d share a few of my favorites. Many of these changed my life as a writer; in fact, I considered the following list so important, I pinned it to the wall above my computer while I was writing my first novel, Coyote Heart.

The following notes came from a course on novel writing, taught by Drusilla Campbell. I send deep thanks to Drusilla for sharing these tips and for her wonderful insight and instructive wit.

Here is a list of factors to consider when plotting your novel:

▪ Characterization is key.
▪ The story will demonstrate your character’s growth, her change from one kind of person to another.
▪ There will be a back-story influencing the current story.
▪ The story is about something that matters (a strongly-held belief).
▪ The story will not be predictable.
▪ The story will be full of conflict, tension, and suspense.
▪ The story will be rich with emotion.
▪ The story will be detailed and sensory.
▪ There will be a major inciting incident that will take the main character out of her comfortable state and put her in trouble.
▪ After the inciting incident, the major character has a goal, which can be put in the form of a question.
▪ The goal is always something tangible, though it may represent a spiritual or moral goal.
▪ There will be mystery in your story.
▪ Your plot will constantly generate questions in the reader’s mind.
▪ There will be a mix of good and bad characters, and no one will be either too good or too bad.
▪ Every character will always be fully motivated.
▪ Opponent(s) will thwart the view point character’s goal.
▪ The story will be about an active hero.
▪ There will be a darkest moment for your heroine.
▪ The hero and his opposition will confront each other at the end.
▪ Your story will follow the patterns of cause and effect, stimulus and response.
▪ Any flashback will move the story forward and deepen characterization. PROMISE.

A Unique Idea for Promoting a Year-old Book

2009-06-08T18:55:00.001-07:00

One of the best parts about being a book publicist is that I learn so much from the creative and hard-working authors I meet. In addition to being great with plot, dialogue, and characterization, many writers are also gifted artists and marketers, coming up with some truly original ideas for promoting their books.

An idea I found particularly clever (and enjoyed being a part of recently) is author Paula Brown’s pay-it-forward travelling road show for her one-year-old nonfiction book, Fur Shui. Fur Shui explores the principles of chi, or energy, used in the traditional Chinese practice of feng shui and describes how to use them to create healthy and happy environments for animals. An animal communicator and graphic designer, Paula Brown came up with the idea of celebrating her acclaimed book’s one year anniversary with an exchange program she calls The Tour de Fur.

To kick off the tour, Paula sent out eight copies of Fur Shui to pet owners who wrote in by email offering to participate. After the first eight readers received their books, Paula asked them to pass the books on to other pet owners and animal lovers across the globe. Those who receive Fur Shui must take a photo of themselves and the book; the book and their animal(s); or just the book in their geographical location. Paula asks that they email a copy of the photo to her, sign and date the book, listing what city they’re in, and then pass it forward.After six months, Paula plans to call in the eight copies and see “just how full of love and signatures” the books will be. She provides instructions inside each copy for where to send it when it’s full, and also offers a free animal chakra reading to each pet owner who forwards a copy to another person.

Paula’s set up a new blog at http://furshui.blogspot.com, to track her books’ adventures and show off the photos that she hopes will come in from all over the globe. Check out her blog and her website at www.furshui.com to see what’s happening with this creative author’s first birthday celebration for her imaginative book, Fur Shui.

Selling Books at Fairs and Festivals

2009-05-28T09:02:00.000-07:00

It’s that wonderful time of year when local neighborhoods and specialty organizations begin holding their annual street fairs and festivals. Authors should try to take advantage of the festivals in their areas, as they offer great opportunities to meet readers and sell books. Many festivals attract thousands of attendees and provide excellent selling opportunities, especially for unknown and self-published authors who are not as likely to draw big crowds at book store signings. Selling books at fairs and festivals is also a smart idea for more experienced or well-known writers, who are looking to augment their book tour schedules.

Listed below are some tips if you plan to sell your book at a street festival or book fair this year:

1. Promote ahead of time.

If you plan to sell books at a festival, be sure to do all the footwork that you would normally do for any book signing. Send out a press release, list the event in print and online calendars, and use your email lists to notify readers that you’ll be selling books at an upcoming festival or fair. Be sure to include the date, time, and street address for the festival, as well as the location of your particular booth, in your promotional material.

2. Share expenses.

Some festivals charge quite a bit for booth space. If you find the price too prohibitive, consider splitting costs by sharing space with one or more other authors. If you are going to rent a booth at a specialty fair, invite other authors who have books in the same genre, or share with someone who sells something related to your book. Be creative – if you have a book with a Native American theme, share space with a historical author at some of the Indian pow-wows in your area. If you are a nonfiction writer with a how-to book, you may want to attend some of the local craft fairs and festivals that occur in the spring and summer months. Shop owners and local artists are often looking for opportunities to sell their wares and may be interested in sharing space at festivals. Also, watch for specialty events – children’s book festivals, African American festivals, Italian or Greek festivals, and library events, etc., where your book might fit in.

3. Come prepared.

Make sure you have the following items with you before you head out to man your booth:
Books – consider how many people will be attending the event, and plan accordingly. If you drive to an event, you can always keep extra books in your car, in case you sell those you bring with you to the booth. Be sure to bring “Autographed Copy” stickers if you plan to sign books at your booth, and determine what price and the appropriate tax amount, if applicable, you’ll be asking before the booth opens that day.
Giveaways – like any trade show, you should plan on giving out freebies to attract individuals to your booth. Bookmarks, candy, pens, etc., all work well as giveaways that will attract readers to stop by your booth. One author I know creates small booklets, with the first five chapters of her young adult fantasy novel, as a giveaway to use at book fairs. She hands them out to kids as they pass by, and urges them to ask their parents to purchase the book online or at a bookstore if they want to read more.
Set up items – make sure you have a table, table covering, chairs, canopy, cooler with food and drinks, sunglasses, sunscreen, a jacket for cooler weather, book stands, and signage or posters. Bring scissors, tape, and any other items you might need for setting up displays. Stash set-up items in a piece of carry-on luggage to easily roll them out to your booth. If you’re going to be outdoors, bring paperweights or heavy items to hold down any flyers or papers that might blow away on windy days.
Tax permits and change – some festival and fair organizations require that you have a business license or tax permit before you can sell at a booth and will ask that you bring those with you while you’re exhibiting. Also, be sure to bring change with you in correct increments: nickels, quarters, dollar bills, etc., so you can make a sale if someone hands you a $20 bill or higher. If you are set up to accept credit cards and checks, be sure to have the processing equipment with you (if you accept PayPal and have access to electricity, bring your laptop or PDA).
Pitch – plan a quick, one-minute pitch to use with individuals who stop by your booth. Outline your spiel in advance, and practice it so it seems natural and friendly when potential buyers approach you.

4. Practice proper booth etiquette.

If you’re sharing a booth, it’s important that you be considerate and polite to the authors you’re sharing space with, as well as the neighboring sellers on either side of your booth. When sharing booth space, arrange how you’ll handle customers ahead of time, so that you’re not jockeying for attention when individuals approach, and be sensitive to customers who are listening to your booth buddies’ pitches. Try to engage your customers before they buy; take the time to ask them what they like to read, if they read books similar to yours, etc., and really listen to their answers – although people will be interested in your comments about your book, they also like to be heard, so use your listening skills to help make the sale.

5. Have ordering info ready if you run out of books.

Be sure to bring extra info, such as business cards or flyers, to can hand out if you run out of books and giveaways. If sales are slow, you can lower prices, but doing so often means that you might sell out. Be prepared to make use of your remaining booth space time by having ordering information or contact information readily available for those who may want to buy after the event is over.

6. Follow up afterward.

Like any networking event, fairs and festivals provide ample opportunity to network with other authors, potential clients, and readers. Be sure to follow up after the festival: send promised books to customers, get in touch with networking contacts, and send thank yous to festival organizers, so they’ll invite you back next year.

7. Book early for next year’s event.

Some festivals are really popular and only allow a limited number of vendors. To ensure that you aren’t shut out of key festivals and fairs, research the ones available in your area and be sure to book them ahead of time whenever possible.

A great list of links for book festivals throughout the United States can be found at: http://www.thegritsbookclub.com/Content/Events.html

Happy selling!

Stop by and See Me in Booth 212 at the L.A. Times Festival of the Book!

2009-04-19T17:22:00.000-07:00

I’ll be exhibiting with Coyote Heart at the Los Angeles Times Festival of the Book on Saturday and Sunday, April 25-26 in Booth # 212 in Section B. If you’re planning on attending the festival, please stop by and say hello!

Details:

Los Angeles Times Festival of the Book
Saturday – Sunday, April 25-26, 2009
10:00 a.m. – 6:00 p.m.
UCLA Campus
405 Hilgard Avenue
Los Angeles, CA 90024

Why I've Been Seeing Coyotes in My Sleep

2009-04-11T22:25:00.000-07:00

As many of you already know, my first novel, Coyote Heart, was picked up at the end of last year by Kirk House Publishers, a small press in Minneapolis, and is coming out this month (publication date is April 17). The book is now available for pre-order via Amazon.com and Barnes & Noble.com. Here's the Amazon link: http://www.amazon.com/Coyote-Heart-Paula-Margulies/dp/193379416X/ref=sr_1_13?ie=UTF8&s=books&qid=1238788055&sr=8-13

For those of you who know me well, this has been a long time coming -- I started writing the book in 2003, signed with an agent in 2005, and after it stayed for consideration with some houses for a very long time (some for over a year!), Coyote Heart finally found a home at Kirk House. I'm honored that this press is willing to take a chance on an unknown writer like me, and hope you'll order a copy to show your support for my kind editor and publisher.

Following is a brief description of the story and some endorsement reviews. I'm grateful to all my writing friends, reviewers, and, especially, my patient family, for their ongoing encouragement and support.

If you're able to buy the book, pass along this information to readers who might enjoy a San Diego love story, or even write a review on Amazon, I'll be eternally grateful!

All best and happy reading, Paula

Coyote Heart tells the story of Carolyn Weedman, a forty-year-old librarian trapped in a troubled marriage with a disabled husband. After a chance encounter with a widowed Pala Indian professor, Carolyn finds herself drawn into an unexpected love affair. Torn by conflicting feelings, she discovers a secret about her husband’s past that forces her to confront her divided emotions and choose between the two men that she loves.

Set against the simmering backdrop of local politics on the Pala Indian Reservation, Coyote Heart explores the intricacies of illicit love and marriage, the strength that comes from sacrifice, and the courage to forgive the injuries of the past. The novel calls on several San Diego landscapes, including the Rancho Penasquitos preserve and the Pala Indian Reservation, to give the story a unique local flavor. Written with haunting natural imagery and lyrical prose, Coyote Heart tells a compelling tale of love and modern Native American culture.

"A graceful story of love and redemption, Coyote Heart is a gift for all of us who grapple to understand the complexities of relationships.”
-Patricia Santana, author of Motorcycle Ride on the Sea of Tranquility and Ghosts of El Grullo

“With Coyote Heart, Paula Margulies uses lyrical, yet restrained prose to take us into a world where the usual definitions will not fit—where the personal and the political, even the human and the animal, become increasingly difficult to differentiate. This novel bravely explores the difference between a relationship that bends and one that breaks; it even suggests that a healed fracture is stronger than what was originally whole.”
-Peter Rock, author of My Abandonment, The Bewildered, and The Unsettling

"Redemption is a destination we all hope to reach. Coyote Heart takes us on a wonderful journey, crossing cultural boundaries, toward that great human place."
- Mark Trahant, Pulitzer Prize finalist and author of Pictures of Our Nobler Selves, a history of Native Americans in media

Coyote Heart
$15.95
ISBN 10: 1-933794-16-X
ISBN 13: 978-1-933794-16-7
Kirk House Publishers

The 10 Best Books on Writing

2009-03-13T17:05:00.000-07:00

Whenever I find myself in one of those middle-of-the-novel writing funks, I turn to the experts, whose books on how to maneuver through the alternately frustrating and fulfilling maze of fiction-writing line the shelves in my office. Although I’ve read dozens of them over the years, a select few have made their way to a place of honor on the shelf reserved for books I refuse to give away. I know that many writers will have other worthy contenders on their lists; these are mine, in reverse order:

10) Writing Down the Bones by Natalie Goldberg
I had trouble picking a tenth book, because there are so many others that deserve to be on this list and aren’t (I considered Burroway’s Writing Fiction, Forster’s Aspects of the Novel, Olen-Butler’s From Where You Dream, DeMarco-Barrett’s Pen on Fire, etc.). But this one made the list because it has remained on my shelf for over a decade and its short and simple chapters, aimed mostly at beginning writers, speak truth. From “Beginner’s Mind” to “Rereading and Rewriting,” each pithy and instructive section reminds us what we already know. We read Natalie Goldberg and, no matter where we are on our respective writing journeys, we learn.

9) 20 Master Plots and How to Build Them by Ronald B. Tobias
I have returned to this book countless times to remind myself a) that writers have been telling stories for centuries and b) that the best stories have form. The form of a novel can be as simple as a beginning, middle, and end, or it can follow the patterns of quest, revenge, pursuit, maturation, sacrifice, and discovery. Tobias reminds us that though there are hundreds of plot variations out there, a few of those structures have become classics, loved by readers everywhere. It is to those that we aspire.

8) The 38 Most Common Fiction Writing Mistakes (and How to Avoid Them) by Jack M. Bickham
I loved this book from the moment I opened its cover. There’s nothing fancy in Bickham’s style – he grabs us by the neck and instructs us in each direct and wonderful chapter on what we should and shouldn’t do when writing. The chapter “Don’t Warm Up Your Engines” provides one of the best explanations I’ve read on where a story should start. When Bickham speaks, it behooves us to listen.

7) Zen and the Art of Writing by Ray Bradbury
I heard Ray Bradbury speak one year at the Santa Barbara Writer’s Conference, and I’ll never forget the amazing zeal and spunkiness of this fiction-writing legend. Bradbury brings the same energy and outspokenness to Zen and the Art of Writing as he does to his own classic tales. He describes his early years trying to eke out a living as a young writer with a family and then urges writers to stick to it and to do it with love. “Let the world burn through you,” he says. In the Zen world of fiction-writing, Bradbury is a warrior-king.

6) Writing Begins with the Breath: Embodying Your Authentic Voice by Laraine Herring
This is one of my most recent acquisitions, but it quickly found a home on my shelf of favorites. I took it with me on a writing residency and only allowed myself to read one chapter a day, doling them out one-by-one so I could immerse myself in each section’s quiet relevance. The book is divided into three parts: “Focusing the Mind,” “The Deep Writing Process,” and “Embracing What and Where You Are.” Writing Begins with the Breath both illuminates and gently instructs, and the imaginative exercises called “Touchstones” at the end of each chapter make us pause, reflect, and return to this book again and again.

5) Bird by Bird: Some Instructions on the Writing Life by Anne Lamott
What hasn’t been said about this book? It’s a classic, and Anne Lamott has become a well-deserved fixture on the writing circuit and in composition classrooms all over the world because of this gifted text. As she says in the opening, good writing is about telling the truth and she has done that, taking us from “shitty first drafts” to publication and deftly addressing everything in-between. Honest, inspirational, and very real, Anne Lamott illuminates the writing process in a way that is both accessible and revealing, telling the truth about writing so vividly that reading her words is like coming home.

4) On Writing: A Memoir of the Craft by Stephen King
Who would have thought that a memoir by one of the world’s bestselling authors could so expertly define the practical facets of the writing process? In On Writing, Stephen King not only openly describes his own experiences as a professional writer struggling with personal demons, but he also shares his passion and knowledge about what makes writing good. My favorite section has to do with revision; in it, King tells the story about a piece of fiction he wrote in high school and submitted to a magazine editor. The editor wrote back: “Not bad, but PUFFY. You need to revise for length. Formula: 2nd Draft = 1st Draft – 10%. Good luck.” King says that this piece of advice changed the way he rewrote his fiction “once and forever.” Thanks to Stephen King, it has changed ours, too.

3) How to Write a Damn Good Novel by James N. Frey
I lent this book to a member of my writing group, and one of his dogs got to it and chewed through half of the front cover. I have to laugh every time I lift it off the shelf (it gives a whole new meaning to the term “dog-eared”!). But I love this book for its intensity and no-nonsense focus on what makes a novel good. Frey gives the best advice I know on how to create unforgettable characters, infuse a plot with conflict, and write dialogue that sings. I come back to this book often for the solid, no-nonsense advice that fills its pages.

2) The Joy of Writing Sex: A Guide for Fiction Writers by Elizabeth Benedict
I don’t know how this became my #2 all-time favorite, but perhaps it’s because I (ahem) have trouble writing about sex. I use my Catholic upbringing as my excuse; for some reason, I imagine the nuns at my elementary and high schools peering over my shoulder every time I write a love scene. But whether it’s my own modesty, or the fear that the intimacy my characters display on the page will reveal more about me than it does them, writing sex scenes – good sex scenes – is really difficult. All of that changed, however, after I found Benedict’s book, which provides insight and advice on how to not only make sex scenes convincing, but also how to use them to reveal character and create and/or resolve conflict. Benedict uses wonderful examples from some of the most respected writers to illustrate the dramatic impact of a well-written sex scene. And she addresses it all – married sex, adulterous sex, illicit sex – in a way that is fresh, revealing, and inspiring. So, whenever those nuns appear, I reach for this book and let this classic guide remind me that it’s okay for sex to be part of the story.

And, drum roll please…..

1) Writing the Breakout Novel by Donald Maas
My husband bought me this book for Christmas the first year I started writing fiction and it has become my all-time favorite writing guide. I’ve turned to it so often that the pages are covered with sticky notes, highlighted passages, fingerprints, and coffee stains. The book is designed for mid-list authors looking for a way to move ahead in the industry, but the advice packed within its pages is useful for beginners, as well. For a book to be a breakout success, Maas says, it must have the following: an original premise, high stakes, a strong sense of time and place, and larger-than-life characters. And Maas, a literary agent and author of seventeen novels, knows whereof he speaks. I was fortunate enough to attend one of his seminars, where we used some of the draft exercises that became part of his Writing the Breakout Novel Workbook. Both the original book and the workbook are essential instruments in any writer’s toolkit, but if I was going to be sent to a desert island and could only take one book on writing with me, Writing the Breakout Novel is the one I would pack in my suitcase.

First Impressions

2009-03-07T10:32:00.000-08:00

As a book publicist and an avid reader, my first word of advice to anyone who contacts me regarding my services is to write the best book s/he possibly can. I am sent books by hundreds of people looking for promotional help, but since I only handle two or three clients at a time, I tend to be choosy about who I agree to represent.

Judging writing is a subjective art, and I try to be fair with every book I receive. Instead of asking whether or not I love the book (something I’ve heard a few agents say they must feel before they take on a client), I ask myself, Can I sell it? This is a bit of a different question – my concern is not whether the book is great fiction or non-fiction, but more whether booksellers, reporters, and media producers will be interested in it when I call to give them a pitch.

Even so, if a book is poorly written or riddled with typos and grammatical errors, it isn’t likely that I’ll be able to place it anywhere, even if it has a great topic. Likewise if the title is off-putting or the cover art is somehow wrong for the book or its audience. A young adult novel, for example, with a Goth title and violent cover art may fly with the kids it’s designed to reach, but it won’t get past librarians or teachers who are the gatekeepers that decide whether or not a YA author can appear at a library or school.

Every writer should have multiple pairs of eyes on a book before it goes to an agent, editor, or publicist. Best case, authors should revise and rewrite with a high-caliber writing group. After rounds of testing with other authors, the book should then go through a good edit, hopefully with a professional editor, but if that’s not possible, then with a trusted friend or another experienced writer or teacher who can help spot typos, grammatical issues, and flaws in the storyline.

I’m seeing more self-published work lately and many of those books, though interesting and decently written, have not had an agent or editor to help with the conceptual issues and editorial corrections that most books need. Although it’s tough to get an agent these days, and even tougher to be published by a larger press, the value those entities bring to an author’s work is immeasurable. I know this from experience – my first agent worked with me for four months on my debut novel before shopping it to publishing houses, offering input on what was missing and urging me to write seven new scenes for the book. Some agents give thorough critiques and mark-ups of manuscripts; others will work with authors for months, or even years, making certain that a book is the best it can be before it reaches an editor at a publishing house.

And editors, despite being over-worked and beleaguered by cut-backs and mergers, will put their own spin on a text. Some do more than others but, in most cases, a book will have gone through many rounds of revision and polishing before it hits the market if published by a larger house or even a diligent small press.

Can an author with a self-published book get the same quality end product without an agent and editor? Certainly, although the onus will be on the author to provide editorial and packaging resources for himself, which can be expensive and/or time-consuming. Many authors, in their hurry to get their books out, forego these steps and, sadly, their books don’t sell.

The bottom line is that self-published or not, if you want your book to be well-received by booksellers and the media, you must take the time to carefully edit, polish, and package it well.

The Book Passage Connection

2009-02-22T12:07:00.000-08:00

By Ona Russell
(Paula's note: The following article is by one of my clients, historical mystery author, Ona Russell. Since a number of you have asked about signing at Book Passage, I thought you'd enjoy hearing Ona's take on her interesting experience there last week. Enjoy! -PM)

We are all connected. So Charles Darwin, whose bicentennial is being celebrated worldwide this year, suggests in his theory of evolution. Indeed, a logical outgrowth of Darwin's well-known scientific observations about our common origin is this simple, yet profound idea: we are all connected.

I concur whole-heartedly with this idea having just had a first-hand taste of it at my book-signing this past Valentine's Day at Book Passage in Corte Madera. Now, I must admit that I have more than a passing interest in Darwin. My book, The Natural Selection, is a historical mystery set against the backdrop of the Scopes "monkey" trial, the 1925 legal battle that first put the teaching of evolution to the constitutional test (very briefly, the ACLU instigated the trial to challenge Tennessee's then Butler Law, which forbade the teaching of evolution because it conflicted with the Bible. Sound familiar?) In the story, Sarah Kaufman, a real 1920s Jewish woman whom I've adopted as my fictional sleuth, gets drawn into the investigation of the murder of a college professor. Through a series of events, she travels to the trial and ultimately solves the crime with the help of some of its key players.

With this in mind, consider that I was greeted at this wonderful bookstore by my gracious host, Susan Leipsic, with a mysterious-looking pamphlet in hand. Susan gave me an excited look, and then told me about the document. It was written by her grandfather, Herman Rosenwasser, the only rabbi solicited by Clarence Darrow to testify for the defense at the Scopes trial. Entitled Is Evolution Spiritual?, it was, like that of all the other expert witnesses for the defense, unfortunately never admitted in court. Well, of course I was fascinated. In doing my research for the book, I had never come across his name. Had I done so, I very well might have referred to him, because his words reflect precisely (and elegantly) the point of view that I have Sarah espouse in the book, a view that was typical before the rise of fundamentalism in the 1920s: that evolution and religion could coexist.

This was intriguing enough by itself. But the fact that he was a Jew, a rabbi no less, made the discovery all the more poignant as Sarah, in both this book and the one that begins the series, O'Brien's Desk, struggles with her own Jewish identity. Moreover, Susan informed me that she had only been given the assignment of hosting me the previous evening, that any number of others could have been delegated the job. The odds of everything falling into alignment were, in fact, remote.

Now, one is tempted to attribute such strangely coincidental situations to a mystical power. But on his bicentennial, one might also think of Darwin, of his notion that we are all connected and that somewhere along the path we may meet someone to help us illuminate that truth. Then again, as the good rabbi suggested, it could be a little of both.
________
Ona Russell is a historical mystery author and PEN/Faulkner Award nominee for her first Sarah Kaufman series novel, O'Brien's Desk. Her novels can be ordered at bookstores nationwide and at http://www.amazon.com/. You can reach her at onarussell@yahoo.com, or visit her website at http://www.onarussell.com/.

Building Your Platform, Step by Step

2009-02-15T16:42:00.000-08:00

Whenever I speak at writers’ conferences, authors often ask me what is meant by the term “platform.” Simply put, your platform is all about you — the experience, background, and expertise you bring to the table, in addition to the wonderful book you’ve written.

The concept of platform is important when selling a book because it’s what the media, especially radio and TV folks, are most interested in when it comes time to set up promotional appearances. I once had a radio producer in New York tell me, “Paula, I don’t give a damn about this author’s book; I want to know about his background and experience. If he doesn’t interest me, his book never will.” This may sound a bit harsh, but it’s all too true in the world of publicity. If you want premium exposure for your book through traditional radio and TV, you are going to be the story.

And it should be a good one. Media producers expect authors to be knowledgeable and experienced in their subject matter, whether the book is non-fiction or fiction. If you have a compelling personal history, experience in the industry you’ve written about, or an interesting angle to bring to the interview, then you’re more likely to get a yes nod from a producer trying to a fill radio or TV time slot. Reporters and producers look for individuals who are unique, compelling, and entertaining as interview subjects. If you’re a celebrity or have notoriety in your field, the pathway will be easier. But if not, you’ve got to develop a platform that will intrigue members of the media if you want to get maximum exposure for your work.

So, how do you go about building your platform? Many authors write about subjects that fascinate them, but they don’t always have expertise in those areas. When this is the case, I recommend the following:

1. Teach or give lectures, presentations, and workshops on the topic, even if it’s one you only know through research.
2. Keep a list of the presentations you give, and include them in your bio.
3. Get testimonials from the organizers and attendees at your talks and print them on all of your promotional material, including your website.
4. If you haven’t yet done so, create a website and a blog for your book and update both regularly with current information.
5. Follow other blogs in your subject area and comment on them. List your website and blog URL when you write comments, and develop relationships with bloggers and blog readers in your subject area.
6. Use your blog posts as starting points for articles that you can then send to established websites, blog sites, and trade publications.
7. Offer to become a guest blogger or reviewer on other sites, and invite experts in your subject area to guest write for your blog and website.
8. Make connections with experts in your subject area and ask them to endorse you and your book.
9. Demonstrate your passion for your subject when you speak about it. Know recent statistics and be able to talk about new research or events relevant to your subject area.
10. Develop an up-to-date curriculum vitae (c.v.) that lists all your accomplishments and achievements and demonstrates how well you know your subject area.

Many authors are lucky to have agents who understand the importance of platform and have helped them develop the items listed above. But self-published authors, or others who don’t have an agent to help them, may need to do some of the development work on their own.

Take a look at your platform and if it needs developing, get going on building it, one step at a time.

Surprise and Delight

2009-01-31T22:05:00.000-08:00

My son, Max, and I volunteer every Saturday with the Escondido Humane Society (EHS), where we take care of the rabbits the EHS has placed in local Petco stores as part of an adoption outreach program. Our duties, begun two years ago, include cleaning cages, replenishing hay, kibble, and water, bringing the animals fresh greens, exercising them in an x-pen setup, grooming and interacting with them, and providing information to store visitors interested in adopting.

What began as a volunteer activity to help my son with college applications has become a labor of love for both of us. During the past two years, we’ve cared for over forty rabbits and have seen many of them get adopted. Even though we’re happy when they find forever homes, it’s hard to watch the rabbits go; after weeks of working with them, they inevitably burrow their way into our hearts. But our volunteering has been a wonderful bonding activity for my son and me and has allowed us to give back in a way that sustains our mutual love for animals.

Max and I have developed a rhythm to our volunteer routine; since he’s good with animals, he does most of the bunny handling and grooming. Since I’m more into organizing and chatting, I take care of the trays, hay boxes, and water bowls, and answer potential adopters’ questions.

On a recent volunteer day, I was busy cleaning one of the rabbits’ trays when a mouse scurried out from under a display rack and skittered across the floor in front of me. The sight of the tiny critter motoring so quickly across the linoleum made me laugh out loud. After months of the same routine every Saturday, this little interlude made my day in a fresh and surprising way.

The runaway mouse also got me thinking about the importance of surprise in our writing. An unexpected element, especially one that makes us smile, can infuse new life into a story that has been rolling along on cruise control. This concept is especially true for those of us mired in the middle of novels, where we’ve become bogged down by static plot lines and characters. An unusual event, an atypical action by a character, or even a surprising bit of dialogue, can give us fresh perspective on a storyline and lend renewed interest and enthusiasm to authors and readers alike.

As an author, I love when the characters in a book I’m writing suddenly do or say things that surprise me. This usually occurs when I’m not sure exactly what will happen next in a scene – suddenly, a character will behave in an unexpected way, and it’s so refreshing and unusual that it peaks my interest. Soon, I’m off writing the next few lines, eager to see where the new direction will lead.

I believe that readers, like authors (and volunteers), also love it when we surprise them. So, if you’ve been slogging through the middle of your latest novel, try letting your characters do something unexpected. The unusual twist may be exactly what you need to give yourself – and your readers – a reason to smile.

Finding Opportunity in a Teacup

2009-01-14T15:22:00.000-08:00

I recently read Greg Mortenson and David Oliver Relin's Three Cups of Tea, the fascinating non-fiction account of how Mortenson, a mountain climber and American nurse, came to build fifty-five schools in Pakistan and Afghanistan. In one of my favorite parts of the book, Mortenson describes a 1998 talk he gave in a sports shop in Apple Valley, Minnesota, where the store staff was so busy he had to set up the seating -- over a hundred folding chairs -- himself. After weeks of publicity, including posters at a local college, an AM radio morning show interview, and segments in the local papers, he faced an audience of only three people: two store employees and a single customer, who hovered at the back of the room. Though he was dejected at the small showing and exhausted by his continual efforts at fundraising, Mortenson decided to give his talk anyway and began showing slides of K2's infamous summit and the eighteen schools he’d built so far in Pakistan’s remote and impoverished countryside. As he spoke, Mortenson felt a renewed enthusiasm for his work and his devotion to the Pakistani people and gave his all to the presentation, even though his audience was small.

When he finished, the lone customer disappeared, but the two employees approached him. One gave him ten dollars, while the other offered to volunteer his construction skills in Asia. Mortenson thanked them and then, as he picked up the brochures he'd set out on the chairs, he noticed an envelope on the last chair in the last row, where the customer had been sitting. In the envelope, Mortenson found a personal check, made out to his foundation, for twenty thousand dollars.

There is an important lesson here for all authors who initially see very little return on investment for the hours and dollars they spend promoting their books. Although a few lucky ones experience instant success when their books are published, the majority do not. Most writers, especially those who are publishing a book for the first time, can expect months and even years of effort, including building websites, posting on blogsites, giving interviews, sending out contest applications, presenting at speaking engagements, and hosting blog and book tours that don’t pan out to much in sales. And in our recently diminished economy, where consumers are pulling back on their expenditures, the return on an author’s promotional investment is lower than ever.

But, as Mortenson's story reminds us, opportunities exist (and sometimes abound) in every venture we undertake, and bad economy or no, there is always the possibility that a single investment of time and effort will somehow result in some good. Even a book signing with only one or two attendees can turn out to be worthwhile, especially if one of the two people there happens to be one of Oprah's producers, say, or a movie studio executive looking for a new idea for a script. We never know who will see our ads, read about us in a local newspaper article, stumble across our blog, or sit at the back of empty rows of chairs at a bookstore or university talk.

As another famous impoverished author, Henry David Thoreau, once said, "In the long run, we only hit what we aim at." Although the results we seek may not always come as quickly as we'd like, with persistence, patience, and good promotional guidance and execution, they eventually appear – sometimes when we least expect them.

Aim often and high.

Learning to Be Like Water

2008-12-27T12:57:00.000-08:00

As the end of the year approaches, it’s time to take a personal inventory of what the year was like – what went well and what didn’t, where we succeeded and where we failed, what brought joy and what brought sorrow, and what we learned from it all. For me, this year was a tumultuous one, filled with highs and lows. The low points had to do with a lot of dental work; the highs revolved around work, writing, and relationships.

The constant joy in my life is my family, and that held true for 2008. My husband and my two children are a never-ending source of love, happiness, and inspiration. At the end of each year with them, I can’t help feeling truly blessed for their presence in my life.

As for my business, I also couldn’t be more blessed. I had the honor of working for some truly great clients this year and am looking forward to continuing my work with many of them – along with some new voices - in 2009.

My writing has also been a source of joy and learning. I am privileged to be part of a creative and talented weekly writing group, and this year I had the honor of meeting some truly amazing writers during an artist residency at the Vermont Studio Center. I discovered the joy of blogging, sold a few articles, and reached the halfway point on my second novel. While I may not have completed as much as I would have liked, the first ten pages won an Editor’s Choice Award at the 2008 SDSU Writers’ Conference, and the remaining pages are shaping up into a presentable first draft.

In 2008, I went back to community college teaching after a ten-year hiatus. Surprisingly, I discovered how much I missed it and was lucky to have a group of students who were a pleasure to work with and taught me more than they’ll ever know.

And on November 4th, I felt tremendous pride in the American people for the ground-breaking change they brought to pass with the election of our first African-American president.

In all, it was a solid year, filled with achievement and wonder.

And now it’s time to look forward to 2009. I’m not big on resolutions, but I do believe in setting goals, even if they’re more generally focused on attitude and direction. For the coming year, I’ve decided to take a lesson from the Tao Te Ching by paying more attention to what is present in my life and learning to practice simplicity, patience, and compassion.

As Lao Tze says in Chapter 8 of the Tao, the roadmap for contentment lies in being like water, which nourishes without trying and is “content with the low places that most people disdain.” Lao Tze also gives some wonderful basic guidelines for daily life:

In dwelling, live close to the ground.

In thinking, keep to the simple.

In conflict, be fair and generous.

In governing, don't try to control.

In work, do what you enjoy.

In family life, be completely present.

When you are content to be simply yourself

and don't compare or compete,

everybody will respect you.

Some wise words to live by in 2009.

Happy New Year!

Beginnings and Endings

2008-12-16T10:01:00.000-08:00

Some experts would argue that the most important part of a book is the first sentence. Without a good opening, or hook, as we call it, we authors risk losing our readers right off the bat. But how many books have any of us read where we actually remember the opening line? Or even how the story begins?

For myself, I love a book beginning. When I’m in a bookstore or at the library, I don’t waste time reading the jacket copy on the back of a book. Instead, I toss open the cover and go straight for the first line. If it grabs me, I’ll pick up the book to bring home. But if that first line doesn’t stop me dead in my tracks right there, the book doesn’t stand a chance.

Usually the first line is a precursor to what’s to come in a novel. There is a certain tone to the writing, or the main character speaks with a voice so unique and compelling that we have to turn the page. These are the books that become our favorites, the ones that stay with us through our lifetime as key markers along the paths of our personal development.

We all have a few favorite opening lines. One of mine is the beginning of Barbara Kingsolver’s haunting novel, The Poisonwood Bible, which tells the story of an American preacher, who leads his family to tragedy and death as he descends into madness in the jungles of Africa. The first sentence prophetically reads “Imagine a ruin so strange it must never have happened.”

Another one of my favorites is the opening line to Sena Jeter Naslund’s novel Abundance, which tells the story of Marie Antoinette in the doomed queen’s own voice. “Like everyone, I am born naked,” she states. How can any of us put down a book that begins this way?

And who can forget “Call me Ishmael,” Herman Melville’s famous opening to Moby Dick? Or Humbert Humbert’s painfully obsessed beginning words in Nabokov’s Lolita: “Lolita, love of my life, fire of my loins. My sin, my soul.”

Likewise, I am fascinated by the last lines of certain books, especially those that have kept me spellbound for hours and made me loathe to have them end. One of my favorite endings appears in the title piece of Flannery O’Connor’s short story collection, A Good Man is Hard to Find. After brutally murdering all but one member of a Southern family stranded on a country road, a psychopathic killer called The Misfit shoots the opinionated grandmother who, in a moment of redemption, has reached out and touched him after recognizing him as one of her own.

“She would have been a good woman,” The Misfit says to his accomplice, Bobby Lee, “if it had been somebody there to shoot her every minute of her life.”
“Some fun!” Bobby Lee replies.
“Shut up,” The Misfit says, “It’s no real pleasure in life.”

Another favorite ending of mine (this one a bit more lyrical), lies in the final paragraphs of Norman Maclean’s A River Runs Through It. They read:

Like many fly fishermen in western Montana where the summer days are almost Arctic in length, I often do not start fishing until the cool of the evening. Then in the Arctic half-light of the canyon, all existence fades to a being with my soul and memories and the sounds of the Big Blackfoot River and a four-count rhythm and the hope that a fish will rise.
Eventually, all things merge into one, and a river runs through it. The river was cut by the world's great flood and runs over rocks from the basement of time. On some of those rocks are timeless raindrops. Under the rocks are the words, and some of the words are theirs.
I am haunted by waters.

Recently, I had the pleasure of reading Gil Adamson’s marvelous debut novel, The Outlander. Everything about this book is wonderful, including the suspenseful plot and the unforgettable characters. Most memorable is Mary Boulton, the young widow at the heart of the story. But it’s the novel’s ending that nailed me to my chair (even though I suspected what was coming). Turn away now if you plan to read the book. If not, enjoy the delightful and chilling last words Mary leaves in a note for the lover she’s finally located after a desperate and eerie journey through the woods of Montana:

“Find me.”

Rituals

2008-12-11T22:39:00.001-08:00

When my friend, Pam, called to cancel on our movie date tonight, I was glad. Not because I didn’t want to go out with Pam – I relish our nights out, partly because I enjoy her company and partly because we share a love of indie films (something our husbands don’t have much interest in). But tonight I was glad we weren’t getting together because the unexpected block of time became an opportunity to bake holiday cookies with my son, Max.

Baking cookies may not seem like a big deal to some, but to me, it is. That’s because Max is sixteen years old now and between his interests - the homework, driving lessons, basketball and volleyball practices, and flag football games – and my own, there isn’t always a lot of time left for us to spend together.

We had made the dough last night, at Max’s urging. To be honest, with all I have going on with my publicity work and fiction writing, I could skip the whole Christmas-cookie-baking gig. I could skip the tree and the lights and the presents, too. But my kids, who are now fourteen and sixteen-years-old and straddling that gap between adulthood and childhood, won’t let that happen. So, with Max pestering me to pull out the New York Times Cookbook (we love the gingerbread recipe) and even reminding me to let the butter soften before he left for school in the morning (how many teenage boys do that?), the dough was ready to go.

After I hung up the phone with Pam, I called Max into the kitchen and said, “Let’s hit it.” My daughter, Sasha, and husband, Dan, made us promise that they could help decorate when they returned from softball practice, so Max and I were on our own to bake. We put some mood music on the CD player (A Charlie Brown Christmas, one of my all-time favorites), sprinkled the table with flour, pulled the cold dough out of the fridge, and selected Christmas and Hanukkah (for Dan, who is Jewish) cookie cutters from the drawer that only gets opened once every year in December. There were the old favorites – the rusty gingerbread man, the plastic Christmas tree, the rocking horse, the teddy bear, the holiday wreath, the Santa, the dreidel, and the six-pointed Star of David – along with some new ones: a Texas longhorn and a cactus shape that Dan had brought back from a business trip to Dallas this year.

And we baked. I rolled out the dough, and Max positioned the cutters and pressed them down, then peeled the excess dough away and transported the newly cut cookies (the longhorns gave us some trouble) to the new baking sheets the kids gave me for my birthday this year. Max and I shoved the filled trays into the oven and loaded up empty ones, working together in a rhythm based on years of doing the same sprinkling, rolling, and cutting Christmas ritual, on the same kitchen table, since he was a toddler.

We didn’t say much, Max and I, but as we worked together, gathering the loose scraps of dough to press into a ball and roll out again, I held my breath. I know that there won’t be too many more of these times. In two years, my son will be off to college, studying, working, falling in love and, some day, developing his own holiday traditions. But for now, I’ll treasure these stolen moments in the kitchen with flour on our hands, the scent of warm gingerbread in the air, and the fullness of this comforting winter ritual in our hearts.

Routine Matters

2008-11-30T20:49:00.000-08:00

My son, Max, attends a local Sunday morning basketball clinic put on by Jim Brogan, a former NBA player and current coach/motivational speaker. Those who are familiar with Jim know already that he has an unorthodox and eclectic style. He pushes the kids – literally and figuratively – to be leaders as well as good athletes. And he does it with a mix of interactive coaching, conventional shooting and ball-handling drills, and bold “in-your-face” challenges and questions. At the end of each Sunday workout, the kids cluster on the gym bleachers, all sweaty and sucking on their water bottles, to listen to Jim’s “Thought for the Week,” which he prints out on colored paper and distributes after his talk. These talks are the best part of Jim’s Sunday sessions because that’s where he draws on his celebrity status as an NBA player, along with his fiery and determined personality, to drive home important truths about basketball and life.

Jim has been a fantastic source of inspiration and learning not just for Max and his fellow athletes, but for me and all the other parents who huddle close to the kids at the end of the Sunday workouts to hear the weekly thought. Of course, Jim doesn’t just aim his talks at the kids – he focuses on the parents, as well, and there are some weeks when his words are meant more for us than for our offspring.

Today’s talk was one of those “Parents, listen up,” lessons. Jim spoke about a former student who had stopped by and confessed that he was failing his freshman classes at UC Berkeley. The former student told Jim that he was partying until three in the morning every day and had lost his motivation and his ability to stay on top of sports and classes. Jim pointed out the obvious lesson for the kids – that we all have choices to make about how we behave and what we do with our time – but he also mentioned something that made me sit up and listen a little closer.

And that was the concept of having a routine. As Jim told the kids, any of us can go out every night and party and hope we get by on talent and luck. But, he asked, wouldn’t it be better to commit to a routine that’s good for you? He made some suggestions (ones that he’s mentioned before) about good habits for basketball players, including coming to the gym every morning before school and shooting one hundred free throws. But, he also pointed out that having a routine is an important part of life. Even more important, he said, was to use our routines to build up our lives. When life gets boring, or throws us a tough curve ball, Jim suggested that the best way to adapt and adjust is to add a new routine to our repertoire.

This idea hit home with me, especially after a holiday week, when a lot of my normal routines were disrupted. My husband was out of town, the kids were home instead of being in school, and my writing group, which normally meets on Thursdays, had to skip because of Thanksgiving. Even worse, I was involved in some pretty hairy dental work, which left me with a misaligned bite and a lot of soreness. All of this put me off my usual routine of making calls for clients every morning, working on my novel, meeting with other writers, and spending time with my family. I hadn’t realized how much I treasured those daily rituals until they were disrupted this past week.

But most striking to me is the idea that when things get tough, and the going gets boring, one option for getting over the hump is adding a new routine to our repertoire. Who among us writers hasn’t hit the proverbial wall when working on a book? And how many times have many of us, especially after a rough critique or another rejection, considered giving up all together? Jim’s solution, which can keep us in the writing game, is to add another routine. Stuck in the middle of that nonfiction draft? Add a routine of writing an essay or a blog entry on a similar topic every week. Can’t come up with a subplot for that historical novel? Consider adding a daily research or reading timeslot that might provide some answers. Run out of images for that new short story? Why not spend fifteen minutes every day reading a poem by your favorite poet. Creating new routines, I’ve realized, is just as important as having some in the first place.

We writers have all heard about the importance of writing every day as a means of becoming better at our craft. Even those of us who can’t, or don’t care to, write daily usually have some kind of ritual and/or routine that keeps us on our game. A weekly free-writing session, a meeting with a group of writers, an annual retreat or residency – there is typically something we do regularly that keeps us in touch with ourselves and gives us the momentum to keep moving forward with our work. I hadn’t realized how crucial my own routines were until this week, when they were disrupted. Thanks to Jim Brogan, I’m reminded of the value of the every day routines in my life, and how much we all stand to gain by doing those same things – as long as they’re things that are good for us – over and over. Even more important, I’m now going to consider adding new ones when the old routines wear out.

What Makes Writing Worth Doing?

2008-11-02T20:32:00.000-08:00

In one of my favorite Woody Allen movies, Manhattan, there's a wonderful scene at the end of the film where the main character, Isaac, a neurotic, divorced television writer, finds himself alone at home on the couch, holding a tape recorder. His teenaged girlfriend, Tracy, has left him, he’s blown a relationship with a woman his own age, he’s lost his job and his apartment, and has discovered that fears about his health were unfounded. In that final scene, alone and hopeless, he turns on the tape recorder and asks himself, "What makes life worth living?" He then answers the question, mumbling into the microphone in his hand: Groucho Marx, Willie Mays, the second movement of the Jupiter Symphony, Louis Armstrong's recording of Potato Head Blues, Swedish movies, Sentimental Education by Flaubert, Marlon Brando and Frank Sinatra, the incredible apples and pears by Cezanne, the crabs at Sam Wo's, and, finally, he adds, "Tracy's face." These last words hit him in a way the others don't; he gets up and, in true Woody Allen fashion, runs through the streets of Manhattan to find Tracy before she leaves for college in England.

I won't tell you what happens at the very end (I’ll save that for those who haven't seen the movie), but I love the fact that the final realization in this film comes because of an image. The picture of a young girl's face in a man's mind summarizes her whole being for him: her sweetness, her radiance, her intelligence. It reveals these characteristics in a way that is so monumental that Isaac has to act. And off he goes, to whatever resolution the story has in store for him.

We writers deal in images. And like Isaac, we often find ourselves at a point in our writing lives where we’re on the couch, alone and hopeless, wondering if we can continue to pour our hearts out on the page year after year.

Most of us have been in the situation where something that was at one time important to us - our job, our marriage, a sport, a hobby - changes, and we suddenly find ourselves asking, Why am I doing this? What’s in it for me? In many marriages, this moment tends to occur after some years together (we’ve all heard the warnings about the seven year itch). We reach a point where we ask ourselves why we married our spouse, why we chose to have kids. We imagine what our lives would be like if we hadn’t gone down the marriage path. Or maybe we meet someone who seems like a true soul mate and wonder "what if?"

Writers often experience a similar pattern. We take some classes, win a few awards, find a good writing group, maybe even land an agent. But our first and perhaps even our second book doesn’t sell, so we doggedly write another one. And halfway through that next one, after maybe five or six or seven years of writing and going to classes and conferences and meetings with other writers, we ask ourselves, why are we doing this? Why spend so many hours away from our spouses, children, and friends, to slave over pages of words? Is it worth it?

And this is where our inspiration falters. Some writers stop writing. They begin to doubt themselves, they become more critical and anxious at their group meetings, or they don’t come at all - spending their creativity on inventing excuses: "I had too much work this week," "I’m not feeling well," "I have to go to an event with the kids," "I can’t find the inspiration/motivation/courage,"etc. Even published writers go through times of doubt, wondering why a book hasn't sold despite good publicity, successful book tours, and decent reviews. Why do any more book signings, they ask? Why write the next book? What makes writing worth the effort?

As in a marriage, when a writer's relationship with his/her work starts to falter, it might be time to examine the situation and get some counseling. A good conference or class can be the answer for some, providing a new way of looking at our writing, or offering new grounds for inspiration and camaraderie. Perhaps a stint at a writing residency might do the trick, providing some needed time for soul-searching and reconnecting with our creative selves.

Or maybe it's time to talk with a spouse, trusted friend, writing expert, agent, even a publicist. Anyone who’s a good listener can act as a sounding board. Have that person ask (or just ask yourself), "What makes writing worth doing?"

If you're honest, your answers might surprise you: maybe it's worth it because you love creating a world all your own from your own imagination; maybe it's the exhilaration you feel when you find that perfect word that illustrates exactly what you’re trying to say; maybe it's the admiration you receive from your friends, your family, your readers; maybe it's the friendships you've formed with other writers like yourself; maybe it's the voices of the characters you hear in your head, begging you to bring them to life on the page; maybe it’s an image of a young girl's face. You don’t know what that image means, but you feel driven to write about it, to find out why it haunts you, to discover what impact understanding it might have on your life.

Listen carefully to your answers. If you’re lucky, you just might discover an idea, a thought or, possibly, an image so powerful that it gets you up off the couch and running to create your next scene.

Oh, and for Isaac, I would have added one more thing that makes life worth living: writing.

Confessions of a Library Lover

2008-10-23T10:00:00.000-07:00

From the time I was old enough to hold a book in my hands, I’ve been a huge fan of public libraries. Some of my earliest and best memories are of trips with my mother to our local library, where I could pick up to seventeen books at a time (the maximum allowed then) to take home and read. I was seven years old when I got my first library card, and I still remember my first selections: a couple of Nancy Drew and Hardy Boys mysteries, a Zane Grey novel (pushed on me by my mom), a collection of Greek mythology, and what was to become my all-time favorite book, Louisa May Alcott’s Little Women. I was a voracious reader and blew through so many books that sometimes we made two trips to the library in one week.

When my children were little (they’re both teenagers now), I continued the tradition and brought them on outings to our public library here in Rancho Penasquitos every week. We checked out all their favorites and read every book that had a series: Curious George, Dirty Harry, Dr. Seuss, Corduroy, Babar the Elephant, Madeline. As my kids got older, we graduated to Harry Potter and the Narnia series. My son doesn’t read as much now as he used to, but when he does, he goes for fantasy and video-game related novels. My daughter enjoys young adult fiction and will often read a book in one day.

Now that I’m a publicist and writer myself, I confess that I don’t get to read as much as I would like. But I still visit my local public library and do my best to get my kids to go with me (harder to do now, with their busy schedules). The Penasquitos branch that I frequent doesn’t open until 12:30 p.m. on Mondays, Wednesdays, and Fridays. On those days, I’m often one of the twenty or so individuals congregated outside the door in the sunshine, eagerly awaiting the moment when the librarian slides the Closed sign to Open and lets us in.

When I’m away at an artist residency or on vacation, my first priority is checking out the local library. One of my most treasured possessions is my Hawaii state library card, which is good on any of the islands. Last year, while staying on the Big Island for a residency, I visited five branches during my trip. Some, like the Na’alehu branch, are housed in tiny trailers. The Hilo branch has a huge central open-air courtyard encased by windows and visible from all four sides of the stacks and Internet carrels that surround it. I’ve been to some equally gorgeous and unique libraries in California, Oregon, Florida, Hawaii, and Vermont, and can’t wait to pick up library cards in trips to future states.

As a book publicist, it’s no surprise that I urge my clients to hold signings at public libraries. These institutions offer terrific opportunities to reach an entirely different audience than those that authors meet at bookstores. Many libraries are willing to order books for signings and do great jobs of promoting events through newsletters, flyers, press releases to the media, and email outreach. Some libraries will showcase authors, placing books, posters, and signage in their lobbies or designated areas for announcements or featured items. And they’re open to all types of writing, embracing traditionally published, self-published, and print-on-demand authors equally.

Many libraries have dedicated sections for local authors, so every writer with a published book should be sure to get it housed in at least one branch in the local system. Authors can introduce their books to other libraries across the country by sending email inquiries and/or visiting the library websites for submission requirements. A great resource for locating libraries across the country can be found at http://www.publiclibraries.com/.

The Take-Away

2008-10-14T09:16:00.001-07:00

I recently spent two weeks at an artist residency at the Vermont Studio Center, a large compound in the quaint northern town of Johnson, which caters to artists and writers who seek a get-away place to work, reflect, and experience a sense of community. My time there was a strange mix of esoteric highs and lows. On the low end, I found the place to be a technological twilight zone, with limited Internet capability, printers that didn’t work, and cell phone service that ranged from intermittent to non-existent. My calling card number wouldn’t go through on the local land line, my key to the writer’s studio building had to be replaced three times, and the light bulbs in my dorm room mysteriously flickered on and off the entire length of my stay, keeping time to the beat of some unknown rhythm they alone heard.

Compounding these technical difficulties was a distressing lack of sympathy by most of the VSC staff. In one instance, I made the mistake of asking for help with my Dell laptop, which refused to boot up. The staff member I approached sniffed disdainfully at me and suggested that since I didn’t own a Mac, which is the VSC computer of choice, I should just go out and hire my own technical support.

There were other lows: hot and hectic work shifts in the dining room kitchen; a floor mate who sang and/or shouted into her cell phone until two o’clock in the morning; models who didn’t show for scheduled life drawing sessions; the ophthalmologist back home in San Diego who refused to call in a prescription to the Rite Aid drugstore in Morrisville.

But the high points more than made up for the lows. The legendary Vermont foliage put on a spectacular display of yellows, oranges, and reds, and the Gihon River burbled merrily outside my studio window. The campus meditation house was a practitioner’s dream – situated in a quiet garden, it exuded peace and tranquility, and came furnished with candles, incense, and rows of comfortable meditation cushions. The food was plentiful and the conversation lively during mealtimes, and the resident presentations at the Center’s lecture hall provided fascinating glimpses into each artist’s personal view of the world. I managed to scratch out four new scenes for my novel; met with literary great, Antonya Nelson; took day trips to Burlington and North Conway, New Hampshire; saw a charming local production of 1776 in Hyde Park; and hiked the surrounding area in perfect 57-degree fall weather, photographing winding trails, flowers, green fields, and waterfalls.

But what I’ll remember most about VSC are the incredible voices of my fellow writing residents. There were eleven of us, and though we were outnumbered by more than forty visual artists, we emerged as the most vocal and boisterous segment of our creative community. We met as a group under our own reconnaissance in the Mason House conference room, a small living room area in one of the residence halls. Armed with wine, tortilla chips, and M&M’s, we read our poetry and prose aloud, shared constructive feedback, and exchanged observations about the writing life. The more the group met, the more we bonded, and our deepening respect and appreciation for each other made this residency one of the most profoundly memorable I’ve experienced.

There are many take-aways from this trip, but for me, the most vivid will be the amazing depth and grace of the non-fiction vignettes from Bill, a CPA in Idaho; the gentle wisdom and thoughtfulness of the animal poems by John, a spiritual guide and teacher in upstate New York; Monique’s sparkling wit and fast-paced coming-of-age humor; Nina’s southern twang and heartfelt take on life as an Indian American girl growing up in Kansas; Louise’s British bildungsroman, told in her cockney accent, all flashing teeth and smiles; Cortney’s adult fairy tales, magical and transcendent, punctuated by cigarette breaks and an impish smile; George’s lyrical narrative about the life of a Russian boy during the time of Perestroika; Heather’s dazzling flash fiction; Leigh’s revealing haikus; my own humble take on love and history in the time of Pocahontas.

I’ve measured my other residency experiences in terms of the beauty of the landscapes or the friendships I formed during my stay. But this trip, while mixed in terms of highs and lows, stands out for the deep admiration and tremendous heart and talent shared by the writers there.

To all my VSC friends (including the visual artists, who generously allowed me to participate in life drawing sessions; Gerard Huber, who touched me with his friendship and kindness; and John Fitzpatrick, who willingly shared his healing knowledge), I send my love and best wishes. Namaste.

Signing Trends: A Ground-Level Report from a Publicist's Viewpoint

2008-09-17T11:43:00.000-07:00

A lot of writers who contact me want to know what booksellers are looking for these days when it comes to hosting author signings. Unfortunately, there’s no simple answer, since not all bookstores are alike and, thus, sellers have differing views on what kinds of books they allow authors to promote. I am seeing some general trends, though, when I call stores to pitch signings. Here are some items to consider when preparing to contact stores regarding your books:

Paperback Price Points are Lower
I’m seeing a lot of pushback from stores on pricing, especially for paperbacks. A number of stores don’t allow signings for paperbacks, but those that do are concerned about price. Most of my clients have priced their books reasonably, but those with a paperback priced at $16.95 or higher face a tough time booking signings. The economy is a major reason for this trend, and it affects everyone. For example, the B. Dalton bookseller in the downtown Los Angeles Mall says that she’s not selling any paperback priced over $15.99. Another bookseller in Encino, which is more upscale, tells me the same thing – even though their stores cater to two extremely different demographics. Because of our current economic conditions, price is becoming a sticking point, and authors, especially those who self -publish and/or have some say in their book’s marketing decisions, should take care not to price themselves out of the market.

Distribution is All
If your book is not in the Barnes & Noble or Borders ordering systems, many of those outlets will not allow you to sign. Likewise, if your book is not listed with wholesale distributors like Ingram Books and Baker & Taylor, many booksellers will turn down requests to sign. I can’t harp on this point enough – make sure your book is ready to go distribution-wise before you start your marketing campaign, or you may not find many booksellers willing to work with you on a signing.

To POD or Not to POD?
A lot of the booksellers I call these days won’t allow authors with print-on-demand (POD) books to sign at their stores. This situation is frustrating to writers and publicists alike, especially when publishers and literary pundits insist that POD is the wave of the future. Many bookstore managers, sadly, have a bias against self-published books and a number of them automatically assume that a book listed as POD is self-published, even though the majority of traditional small presses these days are deliberately choosing to deliver books via POD.

One solution for POD authors is to ask your publisher to do an offset run of 500-1000 books. You or your publicist can then inform bookstore managers concerned about ordering lead times that there are plenty of copies of your book available for purchase. Some bookstore managers find this arrangement acceptable, but others still avoid POD books. Because of this trend, I recommend that authors who can’t decide between traditional and self-publishing try to sell their books via the traditional publishing route first. If an agent can’t sell the book, then self-publishing is always a good fall-back option.

Be Prepared to Sell
A lot of destination bookstores – those in malls and other outlets that depend on location to bring in traffic – will host authors even if they don’t have seating space for readings and signings. These stores usually offer writers a table inside the store, or just outside in a mall walkway, where they can sell directly to store patrons. The booksellers at these destination locations prefer to host authors who are good at personal selling and willing to supply marketing materials for their signings. As always, I recommend that authors think outside the box and try to find other venues besides bookstores for signing opportunities. Some of the more creative destination locales include airport bookstores, book expos, street fairs, and professional organization meetings.

Take Home Your Leftovers
Many store owners don’t have the shelf space to house leftovers from book signings and are asking authors to either buy back books that don’t sell, or arrange a return policy with their distributors. Most of my clients’ publishers are good about taking returns, but authors should know that not having a return policy can be a deal-breaker when pitching signings.

World of Bookcraft: Tales of a Writing Junkie

2008-09-07T13:36:00.000-07:00

At lunch the other day, a writer friend confessed that she had become seriously addicted to writing.

“How serious?” I asked. For me, anything less than twenty-four hours a day – which is how often my teenage son would play World of Warcraft if we let him – is not an addiction.

“Extremely serious,” she replied.

It turns out that my friend’s concerns were valid. She had stopped seeing her friends, stopped doing any kind of exercise (she does yoga to stretch out an injured hip), stopped taking her vitamins, and, eventually, stopped sleeping. “I was coming home from work every day and doing nothing but writing,” she said. “I’d spend all night writing, then shower and go to work, and then come home and write some more.”

Not good, I agreed. She told me that the seriousness of the situation finally hit home when she realized that she was feeling angry, tired, and generally awful about everything in her life.

I was curious to find out how she addressed the problem. She explained that once she realized things had to change, she sat down and made lists. “In one column, I listed all the time I was spending on my book,” she said. “And in another column, I listed all the things I used to do that I consider essential to my mental and physical health.” My friend then took her lists and started crossing off items on either side until they were in balance. Since things were so heavily weighted in the writing column, she forced herself to write nothing for a month and even skipped three weeks of her writing group meetings.

This last bit worried me a little, but my friend assured me that she’s writing again, only now, she does so only in proportion to the amount of time she spends on other activities. She still works, writes, and goes to her weekly group meetings, but she also makes time to do yoga, take her vitamins, eat healthy foods, and have lunch once in a while with friends like me.

I’m proud of her. In the world of bookcraft, balance is everything.

The Things We Cling To

2008-09-01T11:13:00.001-07:00

The other day, my daughter ran into my home office and exclaimed, “Mom, there’s a bird trying to get into our patio room!” Sure enough, she was right – a small yellow parakeet was bashing itself against the windows trying to get into our attached screen porch, where we house our three rabbits and a cage of finches. Fearing that the parakeet would injure itself with repeated attempts to get inside, we opened one of the window screens and let it in. It immediately settled itself on top of our finch cage and wouldn’t budge. In fact, it spent the first night in our house clinging to the side bars of the cage, its tiny head tucked under its wing.

My daughter named the parakeet Kiwi, for its lemon-yellow and green feathers. We’re assuming it’s a female, since her ceres (the flap of skin covering the larger edge of the beak) is brown rather than the blue color associated with males. Kiwi’s protective of our finches, which are much smaller birds than she, and likes to distract us by flying around the room when we feed them and clean their cage. We bought her a cage of her own and, since parakeets need to exercise their wings every day, we left the doors open so she can fly in and out. She goes inside to eat and drink but, as soon as she’s done, she’s back at her post on the finch cage, keeping watch.

It struck me while observing her these past few days that even though she was free in the wild, Kiwi chose to fly into our house and spend the majority of her time with her feet gripped to the bars of a cage. Her determination to latch on to the very thing that restricts her reminds me of how often writers cling to what’s familiar, even if it limits us. Our fear of the unknown oftentimes leads us to eschew change. We stick to a familiar genre, for example, when we have ideas for characters and stories that might force us to explore new styles and techniques. Some of us remain with the same agent, publisher, or writing group, even when we know that new representation or a fresh critique environment might do us good.

For many of us, sticking to what we know is probably not a bad thing. The familiar provides us with a sense of history and experience; there’s a comfort and certainty in operating within those boundaries. They allow us a safe place in which we can grow and explore.

I’m also struck by the strength of Kiwi's drive to protect and be close to our birds. Her need to congregate seems to outweigh her need for freedom. Like Kiwi, many of us seek out fellow writers for companionship, feedback, and the feeling of belonging. And even when a writing group dynamic is limiting, many of us will forego leaving for the simple reason that we deeply desire to be with others like ourselves.

I admire this little parakeet for her willingness to join a strange household in order to be near other birds. Her instinct to protect and flock is apparently much stronger than her desire for freedom. She’s welcome to stay as long as she likes, and we’ll honor her choice by keeping her safe and fed. Similarly, we authors should nurture and support our fellow writers, who often prefer to operate within the certainty of what they know and congregate rather than fly solo. When they’re ready to soar on their own, Kiwi and our writer friends will let us know.

Stay Safe, New Orleans - Our Thoughts Are With You!

2008-08-31T16:27:00.000-07:00

The other day, a writer in New Orleans contacted me regarding some publicity work. We talked about the coming storm, and I urged him to take the appropriate safety measures and stay away from home until the hurricane had passed. Having lived through the wildfires here in San Diego, I know how frightening and disrupting these natural disasters can be.

Our thoughts go out to our good friends in New Orleans and the rest of the Gulf states. May the storm pass quickly and may you all return safely home and be writing soon.

It's All in the Pitch

2008-08-07T17:21:00.001-07:00

Having just returned from a week at nationals with my daughter’s softball team, the subject of pitching is on my mind. Many would argue (especially parents of daughters who pitch), that there is no more important position on a team than that of pitcher. Without a true ace throwing curves, rises, fastballs, and change-ups, most teams don’t stand a chance of defeating their rivals.

The same can be said for those of us who pitch to the media and booksellers. Without someone on our team who can bring the right stuff, we don’t stand much chance of success in the hunt for publicity.

So, what’s the secret to good pitching? According to my husband, who coaches softball, ace pitchers are good at three things: velocity (being able to throw really hard), location (where the pitcher puts the ball in relation to the batter), and changing speeds (knowing how to spin the ball so that the batter swings at it). Ironically, the same three qualities are important to publicists:

Velocity - a solid pitch is one that has been researched and practiced, and sounds so good the person on the other end chases after it. Want the media to say yes to your call? Be prepared and throw hard; have your press release, bio and Q & A completed and know the material in each of them cold. Don’t waste time on pleasantries (“How are you doing today?” “Do you have a minute?”); instead, bring it – tell them who you are, why you’re calling, and what you’d like from them. Get your storyline down to one or two minutes and be able to elaborate if the person on the other end wants more information. Tout your awards and achievements, and don’t forget to sell yourself as well as your work.

Location – know the range of the publications/media/bookstores you’re pitching and make sure that their audiences will be interested in what you have to say. Choose venues where you know people (so you draw big crowds) and/or that will give you the most PR mileage. Locate the name of the right producer/manager/community relations rep before you call and be ready to show her how you and your book fits her bookstore/column/show.

Change-Ups – be sure to put the right spin on the subject matter you’re pitching and be flexible about availability, dates, and subject matter. Speak quickly and clearly when leaving voice mail messages, but slow down when leaving your telephone number or email address. If the person you’ve contacted can’t accommodate your request (no room for signings/schedule booked for the fall), switch speeds and ask for other options – would the store be willing to stock your book? Is there an opportunity for a spot in the spring? Ask if you can check back, and follow through if the answer is yes.

As my husband says, you've got to put the ball right where you want it to go, or you get lit up. Translated, that means that it's tough to win unless you've got some real pitching power on your team. But, find someone who's got the right combination of speed, location, and spin, and you can serve up some powerful publicity for your writing.

Play ball.

How to Get the Most From Your Book Signings

2008-07-15T14:38:00.000-07:00

Summer is here and it's a great time for authors to do book signings. For those of you getting ready to appear at bookstores for the first time, here are some helpful hints for making the most out of your signing experience:

1) If the bookstore is near you, stop by a week ahead of time and see what kind of promotion the staff is doing for your book. If they don't have anything up, offer to give them posters, bookmarks, magnets, etc., to use in the store.

2) Talk to your friends and family and try to get as many people as you can to attend your signing. Even if they've purchased the book before or attended other signings, ask them to come and help draw people in the store over to the area where you're reading. Send email announcements to everyone in your address book prior to signings and ask your workmates, students, clients, etc., to attend. Mention that you're doing a signing everywhere you go -- at work, in the grocery store, at the bank, etc. Make up simple announcement flyers and leave them everywhere you can (at the library, on bulletin boards, at coffee shops, etc.).

3) Presign a number of the books you're bringing to help long lines move faster. After your signing, see if you can get the store to keep the presigned copies. You can make or order stickers that say "Signed Copy" for the spine of the book -- these will help the books move quickly on the shelves.

4) A few days prior to the signing, advertise your event on local websites that have calendar listings. Many local newspapers and weekly tabloids have event notice forms you can fill out online for free. Some have longer lead times, so start checking the websites early. You can also put a notice in the events section on Craigslist and on other free networking sites.

5) The morning of your signing, call and ask for the manager (if you're one of my clients, the names are on your reading schedule). Make sure the manager knows what time your signing will be held and has everything ready for you, including table, chairs, microphone, electrical outlet (if necessary), etc. Also, find out if your books are there; if they're not, bring at least 20 copies with you.

6) Get to your signing early and make sure tables and chairs are set up and your books are out. I've been to a number of signings where my clients have gotten there and nothing is ready, so be prepared for that. Be sure to place one of your promotional posters on the table with your books, so patrons passing by will see the cover art and, hopefully, stop to hear you speak.

7) Always have extra copies with you, in case you have a big crowd. Bring plenty of pens and don't forget to bring your business cards, so those who buy your books can get in touch with you later or find info on your website.

8) Be personable and friendly to everyone who walks by. Wait until there is a good crowd gathered before starting and, if there's no microphone, make sure you project your voice so those in the back can hear you (practice this at home in front of the mirror). Talk about what inspired you to write the book, what the story is about, what motivates the characters, and what you love about the book. Read a few pages, preferably something that has some action or conflict. Don't read too long -- less is more with public speaking. Those in the audience will often have questions, so be sure to allow for some after you finish. And don't forget to chat with readers while you're signing -- the more impressed the reader is with you and the book, the better chance s/he will tell others about it and help create the buzz you're looking for.

9) After the signing, thank the store manager and other staff who helped you set up. See if they'll stock any leftover copies and don't be shy about asking them to order more copies from your publisher.

10) Bring your digital camera and have someone take pictures of you while you're signing. After the signing, post the photos on your website and blogsite and write about the experience, the readers you met there, the helpful staff, etc. Be positive about the experience (even if it didn't meet your expectations) and encourage everyone to come out for your next signing.

Getting Those Ducks in a Row

2008-06-28T13:12:00.000-07:00

One of the most important elements for successful book publicity is having printed copies ready for distribution. While this may sound like a no-brainer to some, many authors approach me to publicize their books before they're available for stores to order. This situation creates a dilemma for everyone involved: the bookseller, who wants to give the writer a signing date, but doesn't see the book available through the distribution channels he likes to work with; the publicist, who has to scramble to contact the publisher about the distribution issue; the publisher, who then has to contact distributors and buyers regarding the listing; and the author who misses out on a good signing event.

Many chain bookstores, like Borders and Barnes & Noble, prefer to order through their own distribution systems. This is an important concept for self-published authors to understand, because it often takes a certain amount of time (sometimes up to three months) to get the books into the system. Publishers will handle applying for ISBNs and setting up distributors, but writers should be aware that doing so takes time. And not all publishers do their homework; I've worked with a few authors who've had their promotions stalled while waiting for their book to become available to a certain distributor that a bookseller wants to use.

Most independent booksellers order through wholesale suppliers like Ingram Book Group or Baker & Taylor. Some bookstore managers are willing to order directly from the publisher, especially if the publisher allows returns and will give discounts and/or pay for shipping. Due to high shipping costs and lack of shelf space, many booksellers are now asking authors to bring books to signings. This is known as a consignment arrangement, where the bookstore will take a certain percentage (usually 40%) of any books sold. So, in addition to the expense of purchasing the books himself, the author also has to get them to the store, which can be a headache when the signing isn't local.

When I contact booksellers for book signing dates, the first question they typically ask is not about the book's content or the author. They usually want to know the ISBN number. Most of them will look up the book as we speak on the phone and their second question is invariably whether the book is available for order. If they see a print-on-demand (POD) listing for the book, they often express concern about availability, so I urge my self-published clients to see if the publisher will consider printing an offset run. Most publishers, if there is enough demand for the book, are willing to do so.

It can be tough out there for self-published authors who are marketing books for the first time. Not being ready to take book orders is a mistake that no author wants to make, especially when s/he often has one shot at a prestigious bookstore, speaking venue, or media appearance. Authors can assure themselves a much better chance at success if they take the time to get those proverbial distribution ducks all lined up before they kick off their promotional plans.

Working the Book Video

2008-06-10T11:55:00.001-07:00

In the May 29 Random House/Zogby poll, 46% of respondents indicated that they spent the same amount of time reading as they had in the past year. 23% are spending more time reading (a good thing), while 30% said they are reading less than usual.

It's this last group that we all need to think about. The trend these days, especially for the younger set, is that people are reading less than in previous years.

So, what are these 30% who read less doing instead? Nearly two-thirds of them (65%) told Zogby that they're spending more time online, while 37% spend more time watching television or movies and 18% claim to be devoting more time to computer and video games.

These data show why so many writers are now making book trailers (a term coined by Circle of Seven Productions CEO Sheila Clover) to promote their work. For those who haven't seen one yet, a book trailer is basically a one-to-three minute promotional video about the book. The majority of them are mini-documentaries that include voice-over, visual images, and some type of musical score. A few show actors acting out scenes from the book and some include author sound-bites or even (least recommended) authors reading their work. Most authors run these on their websites and social networking sites like YouTube, MySpace, and Facebook. And publishers run them, as well. In fact, according to a June 7 Wall Street Journal article, many publishers are now creating divisions dedicated to making book trailers for their authors.

With so many readers spending time on the Internet, it makes sense for authors to use the web as a promotional space for their work. Yet, many authors make the mistake of creating videos and plunking them down in their websites, assuming that just having them there will entice readers to buy their books. It's true, having a book trailer out there is important. But even more important is working it. Like your business card and press release, a video does no good unless someone sees it. That means you need to tell everyone you know, including the media, about it and invent creative ways to distribute it.

And that's where a good publicist comes in. Your publicist can announce your book trailer release to the media, send out copies to reviewers and book sellers (in the old days, we sent video news releases (VNR's) on VHS tapes; now we send links to your trailer), and use your video to market to distributors, bookstores, universities, and libraries. It's all in the pitch, of course, but having a good video (more on that in a future post) and a sharp publicity person working for you will help get your book the attention it deserves.

Straight Talk on Book Publicity Costs

2008-05-27T10:21:00.000-07:00

The question I hear most often from writers these days is a simple one: What should an author expect to pay for a typical book promotion campaign?

The answer is equally simple: It depends. Different public relations agencies will charge different fees, so costs will vary depending on the type of publicist you decide to hire.

As an independent public relations specialist, I work one-on-one with clients directly and usually only handle one or two clients at a time. I like to meet with clients to go over their requirements, and the extent of my services is determined by what they want in the way of publicity. Some just want a press release and/or limited media coverage for a one-day event; others want speaking engagements, a book tour, a blog tour, radio and TV coverage, etc. I charge $50 per hour, and usually work about ten-fifteen hours per week for each of my clients. I've had clients who contract for as little as five hours of work, and others who I work with for several months. I keep detailed time sheets that I send out every two weeks, and I always do only what clients have contracted with me to do. Most of my authors are self-published, although I have a couple who have published with larger houses and want to do a little more than what's covered in their publisher's publicity contract.

Many writers also ask about success rates for promoting self-published books. I've been pretty successful with self-published authors. For example, one of my clients, Paul Woodring, an African American writer, made the bestseller list at HueMan Bookstore in New York for three months after reading there. It was very difficult to get him in to the store, but I persisted and finally got the managers to say yes. He's also done a featured signing at Marcus Books in San Francisco (another prestigious black bookstore that was difficult to get in to) and did a national book tour that was very successful. He's exhibiting at BEA this coming week and has had a book trailer created by an established filmmaker, so he's really put a lot of effort into his marketing.

But, even those who can't afford to exhibit at book expos and create film trailers can still do a lot with a little publicity. I recommend that most authors at least have a professional press release done, and do some book signings, even if they're local. In addition to creating buzz and making personal contacts with readers, the writer can get some additional mileage out of those events by getting his/her books stocked in the store and placing photos from the signing on his/her website. I also think a blog tour is a relatively easy way to get noticed, although it can be time-consuming to set up (I research appropriate bloggers and their sites, and then contact them directly regarding participation in the tour).

The main thing I bring to the table is the phone work – I really push media and bookstore representatives to look at my clients. And I think that objectivity is what convinces them to say yes. It's hard for an author to call a radio producer or bookstore owner to pitch his own book, but when I call and say a client's work is great, the producers and store managers listen. And I'm persistent, which is key. It's often easy for people to say no, so I keep going back with new angles and approaches until I get them to say yes (this can be the time-consuming part, but it works!).

When you're ready to hire a publicist, be sure to check out a lot of agencies and individual consultants and find one with the right attitude and fit for you and your work. And don't be afraid to ask for references – a good public relations professional should always be willing to put you in touch with his/her clients so you can hear firsthand what they have to say about the publicist's professionalism, follow-through, and success rates.

The Journey of a Thousand Miles Begins with a Single Class

2008-05-14T21:06:00.000-07:00

It's that poignant time of year when the spring semester ends and my community college students get ready to move on to summer school, four-year universities, or graduation. This year more than any other, I feel blessed to have worked with an incredible group of students. These are not the full-time, just-out-of-high-school students that I encountered as a new college teacher twenty seven years ago; these are students who hold real jobs (some of them more than one), who are raising families and caring for aging parents, who have come back to school to complete degrees or switch careers, and who burn with a desire to make the world a better place.

The old saying that we learn as much from those we teach as they do from us has never been truer. This latest group has taught me many things: to question openly, to share without judgment, to practice with intention, and to laugh out loud. They are smart, energetic and curious, and their futures are filled with promise.

So, it's with a sad yet joyful heart that I salute my Business Communication 128 class at Grossmont College. Thank you all for a wonderful semester; it's been an honor and a privilege to work with you this year. My best wishes to you on the next step in your journey, and I hope you'll keep in touch along the way.

The Kwan of Book Publicity

2008-04-30T21:04:00.000-07:00

In the seminal movie Jerry Maguire, we all remember the scene where Cuba Gooding, Jr.'s character, Rod Tidwell, shouts "Show me the money!" into the phone at his agent, Jerry Maguire. Tom Cruise's Maguire responds by begging his client to "help me help you" by proving himself worthy of the amount he's requesting. When Tidwell finally steps up and resurrects himself after a consciousness-losing hit on the field, Maguire lands him the deal of a lifetime, and everyone lives happily ever after.

Chock full of famous one-liners ("You had me at hello!"), this well-written comedy contains some nuggets of wisdom for writers seeking to land the best marketing deals from their publicists. Of course, we all want our publicists to "show (us) the money." But like Tidwell, we have to do our share. Here are a few suggestions for writers who want to help their publicists help them:

Be available. Your publicist is working hard to schedule signings and reviews, radio and TV spots, newspaper and magazine interviews, speaking engagements, and blog tours. Be forthcoming about your availability, show up on time for confirmed events, and make promoting your book a priority in your own schedule.

Be committed. It's hard work convincing bookstores and media folks to give precious air time to writers, especially those who are unknown. And the last thing your publicist wants to do is call back someone who's agreed to interview you and reschedule the date. Agree only to what you can honestly handle, and be committed to what you say you'll do.

Be patient. Like your agent, your publicist is working hard to promote you to those who may not be familiar with your work. The real magic of public relations – smiling and dialing, I call it – takes place at all hours, through continuous networking and numerous telephone calls and emails. Give your publicist some space, and trust that s/he is working hard for you. If you don't get the results you want after an agreed-to amount of time, move on, but make sure you've allowed your publicist the same distance and courtesy that you require when you're writing your book.

Be willing to go the extra mile. Place ads for your book signings, enter book contests, do pro bono speaking engagements, maintain your website, attend book expos, create a book trailer, etc. If you're willing to do whatever it takes to promote your work, you'll make it easier for your publicist to obtain the media exposure you and your book deserve.

The Joy of Artist Residencies

2008-04-22T23:29:00.000-07:00

Artist residencies are a terrific way for writers to beef up their writing c.v.'s and see some of this great country of ours. I've been lucky enough to be accepted at three of them: Caldera in Sisters, Oregon, in 2006; Red Cinder Artist Colony on the Big Island of Hawaii in 2007; and The Vermont Studio Center in Johnson, Vermont, this coming October.

Residencies are usually awarded based on a writer's work. Some only accept published authors, but many will consider emerging writers who have won awards or otherwise distinguished themselves. A few require references with the application, and many want artists and writers who are able to spend a committed length of time at the facility. They usually offer some type of housing, which can be anything from a log cabin to a room inside a house. Most offer some sort of meal arrangement, although there are some that provide space to cook your own meals. Most expect you to get there on your own and provide for your own transportation while you're there.

If you have kids and/or a busy day job, an artist residency is the ultimate getaway. Imagine two-three weeks of nothing but fresh air and free time. You'll meet many other artists and writers who are there the same time you are. You get to sleep in or stay up late, read, write, and explore the local area.

A great resource for artist residencies can be found at http://www.artistcommunities.org/. Also, watch for announcements in literary magazines like Poets & Writers.

Here is an excerpt from a note I sent my agent after my stay at Caldera in Oregon:

The residency was an incredible interlude -- so peaceful and beautiful. I got used to waking up in the morning to a blanket of snow on the deck and trees outside the window of my A-frame cabin. I'd build a fire in my little wood burning stove and listen to NPR on my shortwave radio while I made coffee, then worked until 1:30 or so. I usually hiked around Blue Lake or Suttle Lake in the afternoon, or sometimes went into Sisters, which is a really pretty little town. There are lots of ranches up off of Highway 20, and some have a few llamas interspersed with their cattle. The forest in Central Oregon is all Ponderosa pine and Douglas firs, spreading for miles up the valleys and into the hillsides.

There was a blue heron who fed in Link Creek right outside my window. He flew up into the air one day in the middle of a snow storm. It was a lovely sight. I also discovered a pair of bonded eagles that nest at Suttle Lake. The male has an eight-foot wing span. We had lots of salmon in the creek, heading for the fish ladder just outside the Hearth Center. They were returning to Blue Lake to spawn. I laughed out loud one morning when a baby squirrel fell out of one of the pine trees onto the deck outside my cabin. I think his appearance surprised us both. He sat there kind of stunned for a moment before scampering away. There was also a resident blue jay, who was quite a persistent character. He'd hit the railing of the deck each morning with a loud thunk, and then come stumping up to the window, cocking his head and looking at me as if to say, "Okay, sister, cough up the food!"

I miss my fellow artists at Caldera. Even though we spent most of the days and nights working alone or in the center studios, we all got incredibly close. The whole experience of being there was amazing -- almost zen. There is something about being in the woods where, except for the sound of the creek outside your window or the wind blowing through the trees, there is nothing but you and your work. I felt a sense of everything falling away -- all of the noise and material trappings -- and experienced a heightened state of awareness. Everything you do up there, from lighting a fire to walking along the lake shore to putting words on a page, becomes filled with intention and seems so focused and beautiful. It was very hard to leave.

Processing the Process

2008-04-17T15:44:00.000-07:00

After exchanging sample pages from our novels recently, a couple of my writing friends noted that my pages look really polished, even though they're first drafts. One of the writers asked if I always write so "clean."

My response to her was that I've always written this way, and I suspect it might be because I have so little time to write. I work as a consultant, teach at a community college, and have two teenagers in travel sports, so I'm lucky if I can write once a week. Because of my schedule, I tend to think about whatever scene I'm working on and try to formulate a few things before I sit down: what is the scene goal, what are the images I want to use (usually the images will drive what happens in the scene), and how I will start and end the scene. Sometimes I envision the characters and try to hear their voices talking -- this helps me zero in on what they're thinking and feeling during the scene.

Once I have all the pieces firmly in my mind, I try to scrape out an hour or two to write. It's hard. I've been really struggling lately, because my business has been going well, and I'm in the middle of the semester at the college. But if I know ahead of time what the scene will be about and, especially, what images I plan to use, I can usually get a scene written in one sitting.

The other dilemma for me is my own bias about being "in the zone." Even if I have the scene laid out in my mind, I have to be in a certain mood to write, or I can't do it. I don't know if this is an artistic thing, or if I just lack discipline (probably a little of both).

I know the experts say we're supposed to write every day, but I've never been able to do that. A lot of writers say we're supposed to revise what we write, too, but I don't do a lot of that, either -- I guess because I have so little time. It will be interesting to see if this process holds during retirement; right now, I can't imagine having every day to write. But I have had two-week periods during artist residencies where I could do nothing but write. During those trips, I usually write every other day. My process seems to be built around having some time to think it all through, or else nothing comes out. But, that's just me. I know other writers who sit down and write for a certain amount of time every day. I guess it's a pretty individual thing.

Do you write every day? If so, I envy you. I think it's a lot easier than the way I do it.

When Writers Let Lesser Characters Rule

2008-04-05T13:20:00.000-07:00

While discussing Thackeray's Vanity Fair with my niece the other day, it struck me that the roguish villain, Becky Sharp, is one of the most memorable characters in fiction. And she's not the main character. In fact, I had trouble remembering the main character's name (Amelia), while Becky and the big-footed William Dobbin came to mind easily.

This discussion got me thinking about the characters my writing group members are creating. All of us are writing novels, and all of us have pretty striking secondary characters. There's a gutsy German World War II POW with a French first name; a non-human child with tattoos and an endearing language all her own, who's trapped on a futuristic ship; a devoted African American man who nurtures his traumatized girlfriend without demanding explanations about her past; an aged college professor who's liberal in his teaching, but fears his daughter's interest in an Indian man; a sexy and dangerous young girl, married to an aged Native American chief. None of these are the main characters in our books, yet all of them stand out – in some cases, to the detriment of the protagonists.

I've pondered why so many authors give their lesser characters memorable characteristics, while their main characters appear faceless and dull. My sense is that, in our attempts to make our protagonists sympathetic, we often strip them of the very qualities that make them interesting. I also believe that many of us base our main characters on ourselves. And when we do this, we're loathe to give them flaws (we aren't like that, so why should they be?) or make them stand out in any way. What we end up with is ordinary protagonists, who pale in comparison to their more exciting and unique lesser counterparts.

Thakeray got away with creating dominant secondary characters, but I'm not sure modern writers can afford to do that. We need to assign some equally compelling characteristics to our main characters. Otherwise, the Becky Sharps and William Dobbins in our novels promise to steal the show.

How to Build a Book Tour Audience - Part II

2008-04-02T11:05:00.000-07:00

In a recent post, I described some tips on how authors can build audiences at bookstore signings. Here are a few more suggestions, based on some of my clients' experiences:

Hit the Malls
Candy Davis, who manages the B. Dalton Bookseller at the Los Angeles Mall, doesn't have room for a signing inside her store. But she loves to set up authors at a table right outside the door, especially during the noon-time rush. "We get all kinds of business professionals at the mall during the lunch hour," she says. And those professionals are interested in meeting authors and buying books. Melissa Wiles at Borders Express Tower City in Cleveland, Ohio, has the same situation in her store. "I set up my authors outside in the mall walkway," Melissa says. "It's a great way for them to be seen." Melissa also hosts an annual book signing table during the holiday season. She invites seven or eight authors to come and sign during one of the busiest times of the year for book buyers.

Partner Up
If you don't have a lot of friends and family to call on, consider partnering with another writer for a joint signing. Perhaps you're a fiction writer with a story about a baseball-loving detective. That non-fiction writer you know with a book about coaching in the minor leagues might be just the person to partner with. You'll bring your friends and acquaintances to the signing, and he'll bring his. And the book store manager will love you both for helping to sell two books at one event.

Consider Holding Your Own Low-Cost Book Tour
I've heard about one writer who takes his annual vacation from his day job in the summer and uses those three or four weeks off to create his own book tour. He packs his wife and kids in the car (along with lots of copies of his book in the trunk) and schedules stops across the country with friends and relatives. At each town he visits, he prearranges bookstore signings and also gives talks at public schools, libraries, and universities. He stays with his friends and family, so he doesn't pay for high-priced hotels, and the folks he stays with help get the word out about his signings and talks.

Promote on the Cheap
If your budget is thin, there are inexpensive ways to promote your signings. Create your own flyers and post them in super markets, college student centers, and community libraries. Email the same flyers to your friends and family and reward them (maybe with a complimentary copy of your book?) for passing the word along. List your signings in the event calendars on newspaper and magazine websites and on announcement sites like Craigslist. Mount printed posters of your book cover on foam core and send these to bookstores for in-store promotions. Give the owners at speaking venues your printed giveaways (bookmarks, postcards, business cards, magnets, etc.) to hand out to customers and guests. And finally, if you're lucky enough to have a friend who's gifted at walking up to people and convincing them to come and hear you speak, ask him to work the room the next time you're scheduled to sign. You could even consider offering him a percentage of your sales. It might be the best money you ever spend.

How to Build a Book Tour Audience - Part I

2008-03-28T13:06:00.000-07:00

Many authors are leery of doing book tours, not only because it's expensive to travel across the country, but also because it's difficult to create a good-sized audience. How can a relatively unknown writer hope to guarantee crowds at signings? Here are some suggestions (with more to follow in a later post) to help put butts in the chairs, and hopefully, ring up sales:

Sign in Cities Where You Know People
This sounds like a no-brainer, but I've had clients insist on appearing in cities like New York, Chicago, or Washington, D.C., when they don't know anyone there. Being an unknown makes setting up signings difficult in the first place, but if you go to a city where you don't know anyone, chances are you'll have a hard time filling the seats. Instead, consider places where you know people – the town where you grew up, the city where you worked at that start-up company that now owns half the block, the places your college roommates live, etc. Don't just think big city or target market demographics – instead, focus on places where you can call up half a dozen people and get them to each bring a friend to your signing (or at least post a notice at work in the company break room).

Schedule Your Signings Wisely
At Areopagitica Books in Columbus, Ohio, bookstore owners Doug and Rebecca Rutledge suggest holding a signing at one o'clock in the afternoon on Saturdays. Why is that a preferred time? "Because," Doug says, "the farmer's market next door lets out then, and the overflow crowd tends to come into the bookstore to browse afterward." Likewise, James Jackson at The Know Bookstore in Durham, North Carolina, recommends holding signings at seven o'clock on Friday evenings, right after the weekly jazz session that's held in the adjacent café. If you don't have a lot of fans, or aren't familiar with the city where you're signing, scheduling your reading right after a nearby or in-store event can help draw interested listeners in to hear you without costing you a dime in advertising.

Think Outside the Bookstore Box
Many authors automatically want to hold readings at the big chains like Barnes & Noble and Borders, small independent book stores, libraries and, depending on the topic, schools and universities. But there are lots of other options for book signing venues. If your book has a non-fiction topic or is specialty-based, you might consider finding related outlets for that particular bit of information. For example, if you've written a cookbook, you may be welcome at a local bakery or restaurant that features your style of cooking. If your novel has a romantic theme, you might consider speaking at a romance writers meeting or at one of the local singles get-togethers. Got a book with a political spin? There are numerous Democratic, Republican, and Green clubs looking for speakers on any number of topics. Written a civil war historical? Find one of the many reenactment clubs, and ask if you can speak at the next meeting.

Don't be afraid to look for enticing or rarely considered venues as possible outlets. Museums, concert halls, churches – any place where people gather is a potential venue for book signings. Camille Forbes, author of Introducing Bert Williams: Burnt Cork, Broadway, and the Story of America's First Black Star, recently gave a reading at Woodlawn Cemetery in New York. "The cemetery signing was a great start to my book tour," she says. "The audience had a unique vested interest in Williams, since he’s buried there." Not your typical venue, but people came, and she sold books.

Also, be sure to maximize your website as a place where interested readers can find ways to hear you speak. Contests are a great way to promote your book on the web and the possibilities are endless. You can run contests for phone interviews with book clubs, or even follow the lead of one enterprising writer, who offers a contest for filmmakers, allowing them to create entries using scenes from his novel.

To Sign or Not to Sign: Why Writers Should Consider Doing Book Signings

2008-03-17T13:15:00.000-07:00

I recently attended a writers' conference where the instructor (a published writer himself) asked me to give a brief talk about book publicity and then privately confided that he thought book signings were a waste of time. I've heard similar rumblings from other authors and understand where they're coming from. Most of us have witnessed a book signing where the author sits at a table in a crowded bookstore with only two people (one of them most likely his mother) in the audience. Or perhaps, as a new author, you've had the first-hand experience of arriving for your signing to discover that the store personnel didn't even know you were coming. They couldn't locate your books, scrambled to set up a table for you, and then left you to try to scrape up a crowd on your own.

The Benefits of Book Signings
Despite these worse-case scenarios, there are hidden benefits to doing book signings. Yes, they're time consuming, and the travel costs can hit your bank account pretty hard. And for those who don't like to speak in front of an audience, reading your work in front of strangers can be downright scary. But book-signings can help you make tremendous inroads into reaching your reading audience. And a good book tour, as part of a complete promotional plan that includes targeted advertising, a strong web presence, effective media coverage, and good distribution, can really get your sales going. Here's how:

Creating Buzz
When you have a book signing at a store, a percentage of those in the audience (usually at least half of them) will buy your book. Of that percentage, the majority are likely to read it. If they like it, they'll tell others about it, or even pass your book along. As we all know from success stories about breakout books like Divine Secrets of the Ya-Ya Sisterhood, The Da Vinci Code, and Memoirs of a Geisha, many big name hits became that way not because of the publishers' promotions, but because one person told another person, "You must read this book." As people tell others about your book, you're creating "buzz," one of the most successful sales tools in the business. And one of the best ways to create buzz, is to get out there and talk directly to readers.

Motivating Bookstores to Stock Your Book
You can sell your books via Internet links, Amazon.com, catalogs, and on your own website. But you can also maximize those sales by asking the book stores where you've held a signing to stock your book. If you did a good job of filling the seats at your book signing (a subject we'll cover in a future article), the bookstore manager should be willing to order at least a couple more copies for their shelves. If the store keeps the promotional material around from your signing, they should be able to sell those copies. And if you're willing to come in and sign the additional copies, they'll move fast.

Also, some bookstores have their own bestseller lists. If you held a successful signing and sold all of the books ordered for it, chances are you'll land on the store's bestseller list. After a few weeks, (if your book is good) you might climb to the top of the list. Your publicist can use that news to sell other bookstores on hosting signings and to get you radio, television, and print interviews.

Even if bookstore managers won't let you do a signing (many of them don't have the space), your publicist can ask if they'd still be willing to order your book. Most managers are willing to stock a couple of copies. If those copies sell, you're on your way to more orders.

Getting Engaged
Like most authors, you probably toil alone in your home office, writing your heart out about subjects that matter deeply to you. Getting out and talking with readers is one of the best ways to share that passion and create a dialogue about the book itself. Those who attend your signings get to hear firsthand why you wrote the book and what you feel is good about it. They get to know you in person, ask you questions, and hear answers on the spot. And they'll tell you what they think about the subject. This exchange lets readers feel engaged in the process. And, as most sales people will confirm, a person who feels some emotional investment in the product is more likely to buy it.

Reaching Out
Many writers, fiction and nonfiction alike, write because they have something important to tell the world. And authors like to connect with their readers. One of my clients, who wrote a novel about being black in a white world of business, says that the people he's met at book signings have had a huge impact on his life. He's had young African Americans come up to him after his signings to discuss their dreams of being successful in the working world. He's mentoring some of them now and has built a network of email contacts with a number of people he's met as a result of his book signings. "It's been the most important part about being an author," he says. "I realize that I'm making a difference in someone else's life."

What author wouldn't want to do that?