CMPR’s Memorable Summer Reads

Every summer, readers and publishers compile their recommended summer reading lists. Since we love to read at Claire McKinneyPR, we decided to follow suit with our own memories of summer reads that have stuck with us throughout the years.

Sonya:

Like most kids, I loved reading anything but what was assigned in class. The absolute worst were the required summer readings, which I hated as a concept, even when I ended up liking the book in the end (shout out to Fahrenheit 451). While I hated all summer readings, I remember really digging my heels in when we were forced to read Upton Sinclair’s The Jungle— a novel that was written during the early 20th Century and famously exposed the horrors of the unregulated meat-packing industry in the US. My father had an old copy of it, which he retrieved from a box in the basement and loaned to me for the summer. It was dense; despite the small text, the book was thick and the pages were yellowed and musty. None of this made the text more appealing to me as I flipped through it and noted all the graphic descriptions of the animal butcheries and the unsanitary working conditions.

By the time the book was assigned to us in early high school, I’d been a vegetarian for five years, so the subject struck a particular nerve in me. My big plan to avoid the reading altogether was to protest it on the same moral grounds one might have against dissecting a frog in biology class. All summer, I remember thinking about how I was going to tell my history teacher that I objected to the mistreatment of animals that the book depicted and therefore had a right to refuse to read it. In the end, though, my chronic desire for good grades won out and I begrudgingly read the entire book during the last 3 days of my summer vacation.

When we returned to school, I was quite glad I never brought up my protests to the teacher. In the first lesson about the book, I discovered my gut reaction mirrored that of most Americans at the time of publication: I’d missed the point about the human rights violations and focused in on the animals and the food. Sinclair’s work resulted in an overhaul of food safety standards for the meat industry, but what he’d really hoped for was to change working conditions for the factory workers living in poverty and peril. Reading a book is one thing, while comprehending it is another entirely— perhaps this was an unintentional lesson of the assignment, but a useful one for me going forward nonetheless.

Grace:

Growing up, I had a deep love of reading, fueled by Harry Potter, Percy Jackson, and the local library’s summer reading program. My passion naturally dimmed by the way of required reading assignments throughout high school and college and a few books by choice each summer was the best I could do for many years. The summer after I graduated college, I was job hunting and needed something to do with my free time, finally not bogged down with assignments and grades. I discovered my Kindle from a decade past in the back of my closet, dusted it off, and downloaded Love and Other Words by Christina Lauren on a whim.

Instantly it seemed, my love of reading flooded back to me. I was enthralled in the story of Elliot and Macy getting a second chance at their first love. Devouring the book in just a few days led to a summer of many sleepless nights getting lost in the pages of fictional lives and relationships. Over the next few months, I read more books than I had in many years.

Two years later, and I’m still reading every single day. I’ve become a part of hundreds of different worlds and fallen in love with so many different characters that have changed my life. With my (new) Kindle in hand and hardcopies littering my shelves, Love and Other Words, along with that summer, will always hold a special place in my heart for leading me back to that place of childhood wonder I feel through stories.

Claire:

One thing about graduating from college is you lose your vast summers.  Mine were filled with fried seafood, waiting tables, night swimming, and reading.  You can plop me on a beach with a book and an umbrella and come get me at 5:00pm.  By that time I might be on to book #2. When I was 23, those long summers were gone and I had the standard one week of days to escape to my parents’ house in Massachusetts where I could at least read one, maybe two or three books.  The summer I read The Stand by Stephen King was one of those post-collegiate times. It was a behemoth of a book and a commitment that was likely to drown out other reading opportunities that week. But there I was on a towel in the sand propped on my elbows with the paperback version cracked open in front of me. The Stand was an experience that dominated my reading time.  It was also the last book by Stephen King that I read.  I hate to say it but it didn’t leave much of an impression. It may have been too long, or I may have resented it for taking over my week. Books can still inspire emotion in me, even if I don’t respond to what’s in between the covers. 

This summer on my list are Tomorrow and Tomorrow and Tomorrow and A Gentleman in Moscow, among others.

How to Work with a Publicist

I was scrolling through some searches today, looking for different topics I might cover in this week’s blog.  I decided not to write about digital pr and marketing today.  Instead, I am going to talk about relationships.  Specifically, how to work with a publicist.

Don Hires a Publicist

Don is a first time author whose novel is being published by a small press.  He hires a publicist because he wants to make a name for himself and sell books.  He has a modest following on social media and he has contributed a few pieces to some small blogs.  He has a day job that takes most of his time, and writing the book was challenging.  Now that he knows he has a professional on his side, he is looking forward to making some money and hopefully signing a big publishing contract for the next book.

The Publicist understands that Don wants to get coverage for himself and his new book.  He thinks the book is terrific and has had really good success getting blog reviews and some small publications to cover a first time author.  Don agrees to a short contract for a review and interview campaign and The Publicist starts getting the word out.

Three months later, The Publicist has secured about a dozen hits on moderate level blogs and a review in an independent magazine.  He also got a brief Q&A on Don’s college alma mater’s website.  The Publicist was happy with the job, but Don was not.

Why Is Don Unhappy?

If I look back at the reasons why Don hired a publicist, it is clear why he is unhappy.  He hired a publicist to “make a name for himself and sell books.”  The Publicist heard that, and filed it away under “this is what every author wants, but everyone knows how this works”.  Each entity went into this relationship blind, with notions about the process that were not based in reality.

To ensure that this doesn’t happen to you, here are some questions to ask a publicist that should help make your campaign a good experience.

10 Questions to Ask a Publicist

  1. In an ideal world, what kind of results can I expect?  What are some samples of coverage author like me receive?
  2. What will I need to do to help you succeed at your job?
  3. Will I make my money back?
  4. How many books will I sell, approximately?
  5. What services do you think I need?
  6. What services will you be providing?
  7. How long will it take?
  8. Can we schedule a phone call a month from now to go over how my campaign is going?
  9. Can I get my money back if I am not happy with the way things are going?
  10. Do you complete any tasks that are open at the end of the contract?

10 Answers You Should Hear From a Publicist

These are some answers you might hear to questions you ask a publicist.

  1. This answer is going to be book and author specific.  The kind of coverage you get will vary based on what the book is about, your background and experience, where you live, who you know, etc.
  2. This answer is also a bit specific, but at the very least the publicist will need a picture, a bio, a book jacket, a contact list from you if you have people who can help, and a copy of the manuscript or book for the publicist to read.
  3.  I can’t say for certain, but most authors do not earn back their marketing expenses on their first books.
  4. Publicists do not sell books.  Our job is to raise awareness of you and your book so that there are increasing opportunities for you to sell copies.
  5. This answer is going to be based on the job itself.
  6. This is going to be based on your budget and what the book needs
  7. Whichever contract term you select should be ample time to meet the deliverables outlined by the publicist.
  8. Yes, of course we like to have status meetings with our clients
  9. There is a cancellation clause in the agreement.  We can’t guarantee results, but we do not sell services that we do not feel we can provide effectively.
  10. If there are any leads that require additional follow up, we will make sure to follow through.

For more information on hiring publicists check out our blogs, How Much Does a Publicist Cost? and Do You Know What a Book Publicist Does? (previously printed in Publishers Weekly magazine)

 

Book Publicity on Social Media: Bookstagrammers

Using Instagram to publicize your book is one of the most cost-effective ways to share your book with avid readers. This is largely because of bookstagrammers. 

What is bookstagram?

A bookstagram is an instagram account dedicated to — you guessed it — books. The bookstagram community itself is massive. It encompasses authors and readers who love sharing their passion for books. 

Using Bookstagram to Generate Awareness Around Your Book

Bookstagram can be a great place to share your book, especially if you have a budget, but we will get to that in a second. One of the great things about bookstagram is that, unlike in newspapers or on the radio, people who follow bookstagrammers and engage with their content are a lot more likely to love books. If you connect with bookstagrammers that have a specific niche that is relevant to your book, then you are placing your book directly in front of an audience that is likely your ideal audience for sales. 

3 Tips for Working with Bookstagrammers

  1. Do not expect large bookstagrammers to share your book for free. Many of these bookstagrammers have huge, active audiences. Would you want to give something of value away for free? Probably not. Smaller bookstagrammers may be willing to trade for a free book — but make sure they have a public profile. 
  2. Research bookstagrammers before reaching out. If you write thrillers, it would be a waste of time to reach out to a bookstagrammer who only enjoys romance. 
  3. Engage with the bookstagrammers you would like to work with prior to reaching out to them. Although this is not absolutely required, it is good etiquette, especially if you are hoping to get something for free. 

If you are looking for other ways to publicize your book, check out the following posts: 

Our Six Step Guide to Earning Local Media Coverage

Book Awards for Indie Authors

Publicity 101: 5 Steps to Curating the Perfect Media List

 

Finding the Best Way to Sell Your Book: Non-Fiction

Academics, experts, spokespeople, business owners–many of them publish non-fiction books.  To look at these books as one giant group of promotable content packs is to ignore the fact that there is likely a “best way” to sell your book.  There is not a set of “book media” who generically cover anything that is made between paper covers.  And there is no giant pool of people who are awaiting the next “book”.  There is much more to the story.  How the book is structured and what it is about will determine how you sell it.  Some books are idea driven, others are more “how-to” focused.  Some are both.  Do you know which one applies to you?

Selling Ideas

Is it an idea book, a how-to or both?  It is one thing to pitch a mystery novel or a book on weight loss.  It is an entirely different approach if what you want to sell is a new concept or a new spin on something we all know.  Let’s break it down with one of the more difficult “idea” categories using some of my favorite tools from economics class.

Faux Title Study I: Selling The How-to Book

Dominating the Widget Market for Investors”

Let’s say you are publicizing a book about investing in the widget market.  Your book describes the market, it’s history, sample strategies, tips, potential outcomes, etc.  It is a prescriptive book that can help people make money from widgets, and in general help them learn more about the stock market.

You would likely employ a strategy that included:

  • a “top ten strategies/tips” list
  • soliciting radio interviews
  • pitching long lead magazines and soft financial publications for the average investor,
  • trying to get on a morning TV show or other talk show that features self-improvement topics
  • outreach to digital networks about making money in the market

With this book you have a clear direction and advice you can impart.  You are also directing your message to digital and traditional communities that want to know how to improve their financial situations. Now let’s look at the other side of the coin.

Faux Title Study 2: Selling The Big Idea Book

“Dominating the Widget Market in a Changing World”

This book is similar to the first in that the author talks about the market and history of the widget industry.  He will also probably share some case studies of investors both successful and unsuccessful as a way of illustrating the changes.  Theories of the future of widgets and why things are or are not improving will be in the book.  The conclusion may be more gray than black/white and the author will present a picture of what things are going to look like.  He may also suggest ways we might adjust to allow for a more (or less) volatile environment.

What Makes These Books Different?

I’m sure you are getting where I am going with this.  Title 1 is a clearer “how-to” offering whereas Title 2 is based on a hypothesis and theory based on research and/or data.  There may be some takeaways that suggest what to do, but they will be implied rather than listed as “tips”.

Clearly these are simplistic examples, but I run into this all the time.  The thing is, we almost always want to try to promote the theory the same way we would promote the prescriptive, and it just doesn’t work.  First of all, authors who are writing about theory usually have a combination of academic and applied credentials.  They generally don’t want to give people “advice”.  The kind of interview where “tips” are the goal is often awkward for this kind of person.

The other author loves giving workshops and presentations about how to do things better. For her topic, how we got here isn’t as important as what we are going to do about it.

It is challenging to make these distinctions, but it is important.  If you do, you will be much more focused.  You will see your path to selling your ideas and achieving your goals.

The Not-so-Sexy Side of Book Publishing

People think what I do is glamorous and super cool – publishing.  When I was a recruiter we used to use “Publishing” as a headline to attract talent for our open positions that were basically secretarial jobs or filing clerks. There used to be editors and publishers who were almost like celebrities in the New York scene.  Books were launched with parties at trendy venues, lucrative deals were made at Book Expo, and everyone was looking to discover the next Salinger, Hemingway, Roth, Asimov, Morisson, Kerouac, or any other writer you admire.  Sounds like fun, right?

What I’ve said so far is what the audience sees.  Most people in the industry don’t expose the magic by showing you what happens backstage.  It’s not all that interesting, but these things must be done to publish professionally and competitively.

In the indie publishing world, I see repeats of wasted opportunities and misinformation about how things work that can be cleared up by remembering a few details and rules.  As a publicist, and, now, a publisher, I’m going to wear both of my hats and dish the dirt on what you need to know.

Publishing Tips

  1. Format: Proper formatting is a very basic aspect of putting a book together.  When I was an editorial assistant we called it front and back matter.  I don’t know if that’s what the managing editors are calling it these days, but it still works for me.  These are the pages at the front of the printed book including a title page; copyright page; dedication; acknowledgments; author’s note; and predetermined blank pages.   The title page and copyright page are mandatory, while the others will or won’t be added depending on the author.  My advice is to look at books from traditional publishers to see what they are doing with their pages and copy the format.
  2. Identification: There are identifiers your book needs.  Without them, it doesn’t exist in the market and can’t be sold.  They are ISBNs, bar codes, and a Library of Congress number.  Most everyone seems to know how to get the first two, but the latter is still often missing.  I was taught that it is necessary, especially if you want libraries to find, recognize, and shelve your title.  Check out this site for information on how to get your number(s).
  3. Accessibility: If you choose to publish exclusively with Kindle Direct, independent bookstores, and probably the chain stores as well will not know about your book, nor will they want to stock it.  When you sign up with Amazon’s publisher only, your sales channels are those that Amazon covers.  To have your book recognized in the trade market, you need to upload it with a national wholesaler such as Ingram, which is now the only wholesaler that distributes to independent stores.  You can also try to solicit wholesale orders through your website, but that still won’t give you the credibility you need with the trade market.  I recommend doing all of the above.
  4. Credibility: Bookstores and publications will look to see if your book is listed in Ingram’s database.  I’ve had conversations with editors at publications who will look up the book and if they don’t see it in Ingram they won’t cover it.  Why?  Because some bad apples in the indie publishing world convinced these people to review books that never made it to publication.  The quote I’ve heard is, “I’ve been burned before”.

Book Marketing and Publicity

Regarding promoting a book, there are two major issues I keep coming across.

  1. You have to consider timing.  I won’t belabor the point here because I’ve said it many times before.  If you have written a novel or memoir, you will need three to five months ahead of your publication date to send out review copies and allow for publications and bloggers to read and schedule reviews of your book.  For a prescriptive non-fiction title that has “news you can use” there is a bit more flexibility, especially if it is tied into your career or field of expertise.
  2. Printed review copies are necessary.  In indie publishing, we often use the finished book as a review copy and have it stickered or printed in a way that indicates it is a preliminary version.  The publication date is printed on the book or sticker so that it is clear when it will be for sale.  You can register with Net Galley, offer a watermarked pdf, -mobi file or ebook, but 90% of the reviewing public wants a hard copy.  I know it’s an added expense but you will be better off in the long term doing it the correct way.

For more resources and information I recommend the Independent Book Publishers Association website.  It’s not that expensive for a membership, which will give you full access.  Also, I suggest visiting Jane Friedman’s website.  She is a veteran in the industry, a professor, editor, and a published writer.

“Good friends, good books, and a sleepy conscience: this is the ideal life.”
― Mark Twain