Archive for the ‘tips on getting published’ Category

How to Organize Your Own Book Tour

June 2, 2013

LENNERTZToday we are going to talk about how  authors can organize their own book tour. We’re speaking with book marketing maven, Carl Lennertz.

Carl has worked with Random House, Knopf, and HarperCollins, as well helping independent bookstores through the American Booksellers Association. He is now Executive  Director of World Book Night U.S.; more on that in a moment. Over time, he has helped organize over a thousand author tours.

Andy: Carl, when my clients prepare a marketing plan for their book proposal, they usually have something in there about their willingness to go on an 8 city publisher organized book tour. I have to tell them that this is probably unrealistic these days unless you are a very big celebrity. When I owned Cody’s, we had touring authors every night. What’s happened?

Carl:  Cost. Hotels, airfare, gas; they all went way up in price. At the same time  authors and agents didn’t have the right frame of mind about them. It all became about selling stacks of books and making ‘the list’ – which was a recipe for disaster. I’ll come back to this, but author events are NOT about selling  large numbers  of books at reading events; they are ALL about making relationships with the booksellers and reaching a few new readers each time.

Andy: I always thought  publishers in these hard times encourage authors to organize their own book tours, right?  But some of my clients have tried to do this and have gotten flack from their publishers. Why is that?

Carl: No, please don’t. The publisher is on the hook for hundreds of  dollars in promo money owed to the store for an event, AND there is no guarantee the books will arrive in time if not coordinated with the publisher. There’s a better way; read on.

 Andy: I’m all ears, Carl.

Carl: Let me suggest something different, something I call a muffin and coffee tour. Get in your car (yes, book sales and book buzz can be built locally/regionally), and just visit some stores. Do this before publication date, if you can, with some galleys from the publisher. If you’re doing this  after publication, do NOT stroll in and ask to sign your books. Just introduce yourself and state specifically that you are NOT there to sign books (this lowers bookseller stress significantly). Instead, walk in with some locally made cookies or muffins, or even ground coffee (and yes, I’ve known authors who put images of their book cover on the coffee bag!) Just say you wanted to thank the booksellers for their hard work…and then let it flow from there. The owner or manager may or may not be free to greet you, but let serendipity reign. You might get the part-time info desk person with attitude, or your new best friend. Then walk the store. Enjoy yourself; you’re a booklover, right? Half the time, they will find you and say, hey, we have 2 of your books; would you sign them? And you will, and thank them profusely.

Andy: As a former bookseller, I can vouch for that. Cookies make a difference.  It didn’t happen all that often, but when it did, I never forgot that author or that book. I remember whenever Meredith Maran had a new book out, she kept coming into the store with homemade cookies. And by the way, she also bought books on consignment from us whenever she did a reading and sold them for us at her readings. In return we promised to report the sales to Bookscan. You better believe that everyone in the store knew about Meredith and her book.

But still, my authors want readings! What do they do?

Carl: Now, say you DO actually get a reading booked. Rule # 1: It’s not about the reading; it’s about the things that happen because you go there, especially making a bookseller friend who will hand sell your book afterwards. Expect 0 people  to come to the reading and be surprised. If it’s 1 person, give the reading of your life. Don’t read for more than 10 minutes; talk about the book, how you came to write it; be funny, and take questions. And feel like the luckiest person in the world. Do you know how many authors want to be in your shoes at that moment?

Andy: Carl, again I can speak from experience as a bookseller. Cody’s had over 5000 author readings during the time that I owned it. Particularly with debut fiction but sometimes with National Book Award winners, we’d get 10 or 20 people in the audience and sell 5 books. Of course, if you are a local author, you could pull in all of your friends and contacts. And they’d buy books for sure. But I digress. Let’s assume you have scheduled a tour at your own expense. How do you collaborate with the publisher to make that experience successful?

Carl: The publisher will get books there, if you keep them advised. And send along press materials. And please, pick tour cities based on where the book is set, where you have friends, where you may have lived at one time or gone to college. And let the publicist know if any friends now work in the media in the area. Disgorge every connection you can think of. (I got the front arts page of the St. Louis paper for my lil’ book because I’d lived there years ago and was friendly with the booksellers there.)

Still – and I love publicists; they are genuinely helpful but overworked people – it still falls to you to work your social media before and after the event. To visit other stores in the area (with muffins), depending on time and geography. And, dear god, send a written thank you note afterwards.

Andy: Do you have any other wisdom to impart?

Carl: The key is still managing expectations: yours, that is, and appreciating the hard work of the booksellers in each store. Meet them, talk, be generous. Don’t mention some other website while there. And most important, work your social media before and after the event. Praise the store on Twitter and Facebook, and yes, broken record, mention other authors’ works to the bookseller, to those in attendance, and on FB, etc. It’s not all about you or that day; it’s about all those who can help sell your book for many moons to come if you build up a reservoir of good will. Take the long view. Praise others.

 Andy: You are director of World Book Night. Can you tell us a little about this event.

Carl: It’s a volunteer, grass roots effort to hand out a half million books in the US all one day: April 23, Shakespeare’s birthday. It started in the UK 3 years ago, and we just finished our second year here. 25,000 volunteers applied online via essay, telling us where they would go to find light or non-readers. We did it all by social media: ourselves, indie booksellers, librarians, and publishers, and it was extraordinary. We got books to shelters, underfunded schools, food pantries, and hundreds of other locations. Don’t take my word for it: check out our FB page of testimonials and our YouTube 52 second videos. There is also a book list, FAQ’s, notes about process and materials at our website – and you can sign up for a newsletter so you can here when to apply to be a giver next year:

 World Book Night books are chosen by a panel of independent booksellers, Barnes and Noble buyers,  and librarians in two rounds of voting, working off a  long list of paperbacks drawn from IndieBound picks, BN Discover picks, ALA prize winners, Pulitzers, ReadingGroupGuides.com favorite picks and Above the Treeline top category sellers.  The previous year’s givers also vote, and there are no publisher nominations for the title selection. The voting gets down to 50 books and I choose the final 30 in order to insure balances in gender, ethnicity, subject matter, age group, and geography, as well as a literary and commercial balance. We also want at least several indie press books in there, as well as books in Spanish.

Andy: Carl, thank you so much for sharing this with us. And keep doing that good work with World Book Night.

 

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The Absolutely Most Important Agent’s Tip For Writers: First Impressions Count

May 17, 2013

Readers of Ask the Agent know  I’m suspicious of the seemingly endless stream of  publishing tips that you read in writers publications, blogs, and workshops. Given my skepticism about this kind of shorthand advice, my tips tend to be framed with a lot of ironic and self-deprecating humor.  And I also try to be realistic to the point of blunt. This blog is not for the faint of heart. Those seeking flittery feel-good inspiration will likely be uncomfortable here.

But there is one tip that is as indisputable and immutable as  a law of physics. That is: first impressions count. And your first paragraph will be the agent’s first (and possibly) last impression of your work. So it better be better than good.

When I  started working with fiction, I found that I usually could decide by the end of the first paragraph if a writer had talent. I was a little ashamed of this, so I asked around with other agents and editors. They agreed. This is not to say that I can tell by the end of the first paragraph whether a book is publishable. If the first paragraph makes me fall in love, I’ll keep reading until that first blush of romance disappears. It usually does at some point. Sometimes in the second paragraph. Sometimes on page 100.  Only rarely do I find myself reading the last line at 3 in the morning crying like a baby. But when that happens, it makes everything all worthwhile.

First impressions with an agent are no different than anything else in life. If you were going for an interview at Knopf, you probably wouldn’t show up wearing a NASCAR t-shirt and a John Deere hat. (Unless, you were looking for a job as an editor of a new imprint on ironic detachment.) If your first paragraph is characterized by clunky style, pretentious and flowery figures of speech, clichés, literary throat clearing, descriptions of the weather, clumsy efforts to shoehorn backstory into the narrative,  or other stylistic bads, it’s going to take a lot of brilliant writing to dispel that first impression. And chances are editors and agents aren’t going to afford you that much more time.

This may seem harsh and unforgiving, but here’s my advice. Make that first paragraph sparkling and brilliant. And after that, make the second paragraph sparkling and brilliant.

Eleven Steps to Finding an Agent

March 18, 2013

 

I teach a class on finding and working with agents. A lot of prospective authors who attend the class are a little intimidated by the process and need to know the basics of agent research. So here are the steps you need to follow to find the right agent for your book.

1). Decide if you really want to work with an agent in the first place. I recommend you read my blog post on writers’ misconceptions of literary agents. Agents are going to charge a 15% commission on your income. Smaller publishers don’t require agented submissions. Some even refuse to work with agents. Large publishers will almost never accept unagented submissions. And even when an editor is interested in your project, she might insist that you find an agent before proceeding with her.

2) Make sure your project is ready to submit before seeking an agent. If your book is non-fiction, have a complete and polished book proposal and sample chapter. If fiction, the manuscript must be in final form. (Frequently publishers will insist on a finished manuscript for memoir as well.) If you are preparing a book proposal, do your homework on how to write a good one. Read some books about it, attend some classes, or get a freelance editor to work with you. Books are sold based on the proposal, and it has to answer the questions that the agents and publishers will be asking. Having a compelling idea isn’t good enough. Agents have to know that the idea works as a book, not just as a magazine article or a blog. Publishers need to know that they will make money on this book, not to make to fine point. To get a better idea of what agents are looking for, check out my blog post, Think Like an Editor.

3) Be careful about bad agents and scammers. Before preparing a prospective agent list, do a little research on things to watch out for. Check out the Writer Beware website. They have some very good advice on avoiding unscrupulous agents.

4) The next step is to start doing research on agents who are most likely to be appropriate for your specific genre and project. Remember that you can and must send multiple submissions. Almost all authors, from Joe Schmo to J. K. Rowling, have gotten lots of rejections from agents before finding the right one. I recommend that you make a list of 25 agents who would seem to be a good fit and proceed from there.

5) Begin by mining the data bases. I have a blog post about the resources you can use for finding agents. You might want to start with the list of members of the Association of Author Representatives. The AAR is the trade association of literary agents and has some strict requirements for membership including a code of ethics. For a larger list, I recommend Agentquery.com. In all of these lists you can limit your search only to agents who are working in your genre. Most of the agents will have brief statements that give you a more subjective feel for their sensibilities. You can also get links to the agents’ websites for further research. I went into some detail on a previous blog post about resources for writers.

6) After you have developed a tentative list of agents, it’s time to move on to the agents’ websites. Almost all agents have websites and almost all agent websites have a similar structure. You are likely to find:

• a page describing the agent’s orientation including a fuller description of the types of books she is looking for. Sometimes this will give you a better feel for the agent than simply a list of genres she works with.
• background information about the agent. This might include her education, previous occupations, honors and awards, and personal interests. Sometimes you want to go with your feelings on this. Your relationship with your agent will be very personal.
• A list of books that the agent represents and/or recent book deals. It’s important for you to see if these books seem compatible with your project. An agent whose list is primarily cookbooks might not be the best agent to represent your political journalism. But you need to find out if that agent in moving into other areas that would be more appropriate for you.
• Submission guidelines. This is crucial. Every agent website will have a page on submission guidelines that will tell you: how much and what information they want in query letters, whether submissions should be electronic or paper, some specific requirements about book proposals, and how long you can expect to wait before hearing back.

If you want to delve deeper into the dark recesses of an agent’s mind and soul, some agents will have blogs that could be revealing and always provide useful tips for prospective authors. Check out my blog post on agent blogs.

7) Next compose your query letter. The number of articles, books, and podcasts on this subject is legion. Some of this stuff though is mystification and hype. Don’t let a query letter guru tell you that a good query letter will result in publication. It won’t. But it is important to present your query in a format that is familiar to an agent, that provides the specific information an agent is looking for, and in a style that is clear and intelligible. Always sound professional. Never indicate that you suffer delusions of omnipotence. (Avoid mentioning: Oprah; Eat, Pray, Love; or movie deals.) Don’t be dumb. (Don’t say you are offering a “literary fiction novel”. That’s redundant. And for God sake, don’t say you have written a “narrative non-fiction novel.”)

8)Most writers want to know how long they should expect to wait before hearing back from an agent and how they should go about nudging those agents who haven’t responded. Response times are all over the map. I generally read queries every day and respond within 4 or 5 days. Other agents may take weeks or even months. Usually agents will give an indication on their website how long they take to respond. And….a lot of agents aren’t going to respond at all. It’s rude, but that’s life. Don’t expect agents to give you incisive advice on how to rewrite your book. And don’t ask them to refer you to other agents. You need to do your own research. Agents get 10-100 queries a day. Rejections tend to be pro forma. I recommend that after a few weeks, start sending out more query letters. It’s ok to send a follow-up after a month or two though.

9)If an agent is interested in your project, be responsive. If your project is non-fiction, she will usually ask for a complete book proposal. If it’s fiction, an agent will usually ask for the first 10 pages. And those 10 pages had better be good. Most agents and editors can tell good writing by the end of the first paragraph. If the agent gets excited, she will ask for the complete manuscript.

10) If you are in the enviable position of having interest from multiple agents, you can and should do your due diligence. Ask for references from other authors the agents have represented. If an agent tells you she can get you a 6 figure deal, she’s probably lying. She doesn’t know. That’s a bad sign. Having a New York agent is no longer important. Having an agent from a big agency is less important than having a good agent who believes in you.

11). You will get rejected. You will probably get rejected by dozens of agents. Get used to it. Authors get rejected by agents; agents get rejected by publishers; publishers get rejected by book sellers; and booksellers get their books rejected by consumers. That’s show business.

My Stern Lecture to a Client

February 7, 2013

Sometimes I can’t sell a book to a publisher. Actually, a lot of times I can’t. Even after doing this job for 5 years and getting an estimated 5000 rejection letters explaining why the editor turned me down; even after my rigid filtering process where I reject at least 500 unsolicited author queries for every one that I decide to represent; even when I have become so smitten with a project that I am convinced the publisher will offer a seven figure advance and Spielberg will be on the phone next day begging me to make a movie deal; I still have projects I can’t sell. All agents do. Even the coveted celebrity New York agents who have daily lunches with the coveted celebrity executive editors. Whenever any agent is representing an unknown author, taking a risk, trying to sell a book based on the merits of the project, not just on the author’s celebrity status, there will be rejections.

And when I do sell a book, sometimes for a lot of money, it is usually after I have received 30 rejections from other editors saying: “it’s a really great book, but I just didn’t fall in love with it”, or “it’s competing with another one of our titles”, or “the author has too modest a platform”.

And authors can be even less realistic than I am. After all, they look at the bookstore shelves and see a lot of dreck. They read lots of literary novels that are all well crafted but have a feeling of being sort of the same. They see some really horrible exploitative celebrity memoirs. Really crappy social analysis by gas bag political pundits. And some of these book deals really are getting seven figure advances.

So now what I do just before I submit the project to the publisher is give my client this stern lecture:

“Today I am sending out your book. I believe in it. Otherwise I wouldn’t have worked with you for 4 months polishing the proposal, refining the concept, and (in my humble opinion) making it perfect.

“But you must be realistic. It’s hard to get books published these days. You should hope for the best but expect the worst. I have experience in these matters and will make sure that your book gets to the right editor at the right imprint. I don’t just send books to the same 10 editors and then give up on it. I will send it to all major and not so major publishers who would have an interest in your book. If I can’t sell this book, you can be assured that all avenues have been explored.

“If I can’t find a publisher, it doesn’t mean that your book isn’t good. Sometimes, most times, the decision to publish a book comes down to issues of marketing, not quality or aesthetics.

“But even though your book is good, there are also a lot of other good projects going around. Editors may look at 10 proposals a week or 300 fiction manuscripts a year. Most of them have been heavily vetted by agents. And most of them are publishable. In other words, there is lots of competition.

“You have asked me several times how much your advance will be. I won’t venture a guess on that because my estimates have been wrong so often. Sometimes I expect $20,000 and get an advance for $100,000. Sometimes I get an advance for $7,000, even from the big publishers. Times are tough for publishers just like for the rest of us. The big ones are owned by multimedia conglomerates who are putting a lot of pressure on the publishers to make a lot of money. So publishers have become skittish about big advances. As an agent, I probably can get a publisher to sweeten the deal a little. But publishers base advances on their calculation of sales. They always have a figure in their head of the maximum they will pay. My job is to find out what that figure is and try to find other ways of sweetening the deal when they won’t budge on the advance. I’m an agent, and I don’t have secret alchemical wisdom. I can’t turn lead into gold.

“Don’t expect your publisher to spend a lot of time and energy promoting your book. All those full page ads in The New York Times usually are focused on a very few name brand authors. The publisher really expects you to do the heavy lifting and to promote your own book. They used to send a lot of authors around on 7 city tours. They don’t any more. I have never met an author, no matter how successful, who was satisfied that their publisher promoted their book well. You might ask yourself what kind of added value you get from having a commercial publisher as opposed to self-publishing. It’s a reasonable question to ask. But the answer is complicated.

“I know you would give a great interview on Oprah, Fresh Air, or The Daily Show. And a lot of publishers will make contacts to these and other “A” list venues. But competition for this is fierce and these shows have their own criteria that are often hard to fathom. Again, hope for the best but expect the worst.

“And then there is the Big Enchilada, the Holy Grail. I mean the call from Spielberg. Even though your novel would make a great movie or a tv series, it might not happen. There are a lot of “option” deals for books. Most of them are for very little money, and most of them never go beyond the option. Just like Oprah, movie producers have their own calculations that are not easy to comprehend. Does the book have the kind of 3 act structure that producers want. Will the character in your novel fit with a star who could attract financing? Would the subject of the book require so much resources for production that the film couldn’t make money? Has the producer gone into drug rehab and become unavailable for an indeterminate amount of time? Hope for the best, expect the worst.

“So now I’m sending out the book. Let’s cross our fingers and hope for that seven figure deal. But….remember my #1 rule: be realistic.”

Questions to Ask Before Starting to Write Your Book

January 11, 2013

I see a lot of non-fiction book proposals that are based on wishful thinking about whether the project is publishable. If writers asked some basic questions before beginning the process, they would save themselves a lot of time and grief. They would either refine their concept into one that is attractive as a commercial publishing venture, or they would realize that the idea is ill-conceived. Here are some questions you should be asking yourself.

1. How many books am I trying to write? You have no idea how often I speak to prospective authors who can’t decide which of their many fabulous ideas they want to write about. So they try to shoehorn all of them into a single book. I see short descriptions in proposals such as : “This book is a self-help book about curing back pain with elements of a memoir included.” My advice. Save the memoir for the next book. I always sense a problem when the proposal announces that the project “crosses genres.” Yes, there are some cross-genre books, but more often the author is just being lazy and is unwilling to choose what genre she really wants to write in. Publishers say they are looking for “fresh new approaches”, but if the approach is too fresh and too new, if the publisher can’t figure out what the book is about, if the bookseller can’t visualize what section the book will be shelved in, then they’ll just take pass on it. I know. I bought books at Cody’s for 30 years. When I couldn’t figure out where I’d shelve a book, I tended not to order it.

2. Is this a blog, not a book? Is this a long form article, not a book? I get a lot of rejection letters from publishers because of these concerns. A lot of us are blogging and we’d like to take our precious material and put it all together into something that will make us some money. There’s also the added benefit that the hard work has already been done, and it just needs a little slicing and dicing. Publishers don’t want books derived from blogs. Why would readers pay for stuff that is already available for free online? The question about whether the subject works better as a shorter journalistic piece is a little more complicated. But if your manuscript is less than 50,000 words, it probably is too short for a book. With e-books, publishers are exploring new formats and are doing projects with shorter word counts.

3. Who are my readers and what do they care about? A lot of writers don’t ask this question, but it is the single most important question that needs to be addressed in an effective book proposal. In the world of commercial publishing, the reader is sovereign. I once tried to sell a self-help book about how to deal with a variety of office injuries, written by an author with very good bona fides. It got rejected. Editors pointed out that readers who have back pain don’t really care about how to treat repetitive stress syndrome. The reader is selfish and self-absorbed. She wants you to speak to her concerns. That’s why she paid good money to read your book.

4. If there are no other books on this subject, is there possibly a reason for that? Most authors think that a great pitch is: “there are no other books out there like mine.” For publishers, this begs the question of “why aren’t there any?” And the answer for them is usually that there is no audience big enough to justify publishing on this subject. What publishers really want is a book on a subject that has been written about in other very successful books. But you need to prove that you have something special that will make this robust audience spend money to read what you have new to say.

5. How different is my book, really, from all the others on the subject? You need to ask yourself if the things which distinguish your book from all the others really make a difference to the reader. And this is important. You may have come up with an astoundingly original interpretation of Jefferson’s role in the expansion of the young American republic. And it may have led to much bloviation and vitriole amongst the Jefferson scholars at the convention of the American Historical Association. Publishers aren’t so subtle. Their evaluation of the proposal will probably begin and end with: “Sorry. We don’t need another book about Jefferson.” Or maybe something like: “Sorry. Barnes and Noble didn’t order our last book on Jefferson.”

6. Do I have “platform?” We have written at length about platform in this blog, because publishers are obsessed with platform in our media-driven age. In non-fiction genres, platform is very, very important. And publishers’ idea of platform is probably different from yours. I often tell audiences that platform is either an endowed chair at Harvard or you are sleeping with Oprah’s hairdresser (the latter is vastly preferable). Being a local tv personality with an audience of 500,000 viewers is not impressive platform. It’s “regional” unless your audience is in Manhattan. Then it’s national. Winning the Pulitzer Prize is good platform if your project is about the subject you won the prize for (and if it isn’t regional). A blog with 5000 views a month isn’t platform. A blog with 50,000 views a month also isn’t platform. Get the picture? Celebrities operate by their own rules. Nobel Laureates, presidential candidates, and Lindsey Lohan can write any nonsense they choose.

7. Wouldn’t this book make [a great profile in The New Yorker? ] [a great movie?] [a great subject for Oprah?] The answer is easy. “Maybe, maybe not. It probably won’t happen anyway, so stop dreaming and get realistic.”

How to Write a Great Marketing Plan For Your Book Proposal

December 23, 2012

Most writers are intimidated by book proposals. I can see why. Writers are writers, not salesmen, not marketers, not researchers,  and not necessarily aggressive self-promoters.  But all of these qualities are necessary when you are putting together your proposal.

I don’t think proposals are that hard, that is unless you don’t have a clear idea of what your book is about. And even then, I have found that in the process of writing the proposal, the writer’s ideas become clarified, the structure of the book tightened up, weaknesses become apparent,  and more often than not  the concept of the book gets  strengthened.  Writing the proposal is time well spent. And a good agent will lead you through that process.

Simply put, a book proposal is a business plan. The purpose of the proposal is to describe   your book idea to a publisher and to get them excited about it.  But you also need to be careful not to oversell. Publishers are going to give you a lot of money (well, probably only an insultingly small amount of  money) based on the material in the proposal, and they have a right to know what they are buying.  Trying to dazzle them with hype or baffle them with bullshit  isn’t going to work. We have heard the pitches  a million times about the book being  a shoe-in for Oprah,  being the newest Eat Pray Love, or the next Spielberg blockbuster. Certainly all of those things would be nice, but they usually don’t happen. Trying to oversell the book sends the message that the writer is either  unrealistic or manipulative. These are messages you don’t want to convey in the proposal.

A good proposal anticipates the questions and concerns an editor is going to bring to her reading of your proposal. I did a blog post about this last year called “Think Like an Editor.”  You need to know what those questions are, and your proposal needs to answer them convincingly.

Of course, the $64,000 question is going to be whether your book will make money. And one of the questions you will need to answer is “what will the writer do to help sell the book”.  That question needs to be addressed in the “marketing” section of the book proposal. That’s usually the section that authors have the most difficulty with. So let’s talk about that today.

The marketing sections that come to me in draft proposals usually fall between the Scylla of  being totally lame and the Charybdis of grandiosity. I’ve previously written a blog post called “The Art of the Pitch” where I tried to evaluate pitches that work compared to those that don’t. We have already mentioned above some examples of grandiosity. I will not  allow the word “Oprah”  to be mentioned in a proposal that I am submitting, unless you happen to be sleeping with Oprah’s latest diet guru. At the other end of the scale, I see marketing plans which tell the publisher that the author will have a publication party at her mom’s house and might contact local booksellers to (try to) schedule events. These pitches are totally lame. My favorite pitch was by an author who said  that he would agree to be on Fresh Air with Terry Gross, time permitting.

Remember that the marketing section is about what you are going to do. You don’t have to advise  the publisher  about what they already know. You don’t have to make a list of  major national periodicals to send review copies to. But if you are aware of niches that the publisher might not know about, you should bring that up.

And you should be quite emphatic about what you will do. And that means don’t fill up the proposal with  errant speculation and wishful thinking. I generally tell my clients not to use the word “might” in their marketing section. It’s weak and sends the message that you also “might not” do what you are proposing and probably won’t. And while you are at it, don’t use the word “try” either (as in “I will try to get Cameron Diaz to give me a blurb.)

A good marketing plan needs to be robust, but it also needs to be convincing.   You have to speak with authority. That means that you need to have a realistic and professional tone. And you also have to be honest. Don’t promise what you can’t deliver.

Here are some  points you should be thinking about when writing   your plan.

  • Websites. Publishers expect you to have a website for your book. So you should mention that you intend to do it. Now if you already have a website with lots of fans and lots of unique views, then you have a compelling pitch and you should make it.
  • Blogs and social media. Publishers like authors to blog. If you have one, that’s great. And if you have impressive numbers of followers and viewers, let the publisher know.  But a lot of writers aren’t going to do blogs. Maybe you don’t have that kind of time. So don’t promise one unless you are committed to it.  Publishers also expect you to engage in social media like Facebook and maybe Twitter, so you should address that. And if you have an impressive  amount of friends and followers in social media, then let the publisher know.
  • Media appearances. If you have strong connections with media and have a realistic chance of getting bookings, then mention that in the proposal. It helps if you have had previous appearances in those venues or if you have a close relationships with people who can help you line them up. But again, don’t engage in wishful thinking.
  • Blurbs are good, but make sure that you either already have the blurbs or have firm commitments. It’s ok to say that Cameron Diaz will blurb your book if she has agreed to do it. Don’t make a list of celebrities that you will “approach” for blurbs, although by all means, start thinking about who to approach for blurbs after you get a book contract.
  • Speaking engagements. If you  do public speaking as part of your job or your platform, then talk about the major venues where you will be speaking at the time of publication. You should probably limit this to major venues with significant audiences.
  • Book signings. It’s ok to say that you will aggressively seek out book signings. Remember that publishers usually make the initial contact with the bookstores.
  • Book tours. Publishers won’t send you on a book tour unless you are a huge author. Some authors will go on a tour at their own expense. If you intend to do this, mention it in the proposal. Give the publisher a list of cities and tell them you will work with the publisher to line up signings and media appearances in those cities.
  • Book groups. Offer to meet with book groups reading your book or to do Skype appearances. It’s always a little tricky trying to ferret out these groups. If you have ways of doing it, let the publisher know.
  • Press kits. It’s always nice to put this in the marketing plan, because it shows that you are savvy at promotion. Describe the press kit a little. And if you have creative ways to disseminate it,  let the publisher know. Again remember not to tell the publisher how to do their job.
  • Other  stuff. You should try to think of other creative ways to promote the book that won’t be done by the publisher. Do blog tours, giveaways, op-ed pieces. Hire your own publicist, but let the publisher know and make sure that you will be working closely with the publisher on promotion
  • Platform. Platform is a subject unto itself. I have another blog post called “Platform is More than Just a Website and a Blog”. If you have a platform, make sure that you leverage it for marketing the book and explain in detail how you plan to do that.

These are just a few ideas. You need to think long and hard about this. Remember whatever you say in this section, the most important thing is to be realistic and convincing. And that means –in this and in all things–be honest.

How to Pitch to an Agent

October 23, 2012

I just got back from the Surrey International Writers Conference in Vancouver.  I loved it. I spent a lot of time taking pitches from the 400 participants.  But I also saved some time to attend some wonderful classes taught by writers. Diana Gabaldon, author of the bestselling Outlander series, gave a presentation on how to manage backstory in a novel. I’ve always felt that finding a way of getting the backstory out without just dumping it into a prologue is not easy.

The other class that I attended was about point of view and was  taught by mystery writer, Hallie Ephron. Most of us know that point of view has to do with the novel’s  narrator. Sometimes first person, sometimes third, rarely (thank God) second. But Hallie showed that the devil is always in the details, and that point of view is infinitely complex.  She told me after the class  that getting point of view right is the hardest thing in fiction writing. Even  harder than managing backstory. After taking her class, I think she’s right.

One of the best attended presentations of the conference was a workshop on making effective pitches to agents. It was given by a panel of 3 agents: myself, Vickie Motter, and Bree Ogden. The three of us are getting to be a bit of a dog and pony show. We gave the same presentation at the Willamette Valley Writers Conference last month. Vickie has a cool blog called: “Navigating the Slush Pile.” Check it out.

Every conference seems to have a class on techniques for presenting effective pitches to agents. I don’t agree with a lot of what is getting passed off on this subject. When I get pitched at conferences, too often I find that the attendees have been so over-coached that by the time they get in front of the agent, they act like their heads are going to explode. They read from note cards, they recite  from memory in a sing-songy way, they stare at me with an intensity that spooks me out. A lot of times they are taught that the 10 minutes they get to spend in front of an agent will determine whether their book will get published. AND EVERY SINGLE WORD THEY SAY DURING THE PITCH MUST BE PERFECTLY CRAFTED AND CALIBRATED.

Oh, puh – lease!  I certainly don’t want a writer to sit down with me and present a rambling and  incoherent description of his book project. But I find that most of the people who do that have an incoherent book concept. If you have a good book, you need  to convey the virtues of that book during a pitch session, but you should be able to do it in a more relaxed and conversational way. This says to me that you have confidence in the quality of the book. So when  authors sit down with me, I tell them to put away their notes and let’s just talk.  I think that makes us all feel a lot better.

I find that pitching fiction is particularly difficult. Usually the author sits down  and proceeds to rattle off the plot for 10 minutes. Hard as I try, I just can’t follow it. And neither can any agent I’ve spoken to about this. For me there is no way I can judge whether a novel is good or not by being bombarded with a plot recitation. It’s been said that there are only 10 plots in all of literature. That might be an exaggeration. But for me good fiction is not  just a plot but how you tell the story. And it’s pretty hard to get that across during a 10 minute pitch.

The best an author can do is to give a very short description of the story  and try to convey  something meaningful  about it even though that is, ultimately, ineffable. I always want to know something about the writer too. Has he published before? Has he won any awards? Is he respected by his peers?  That’s important.

Let’s try this for a pitch:  “I’ve written an historical novel. It’s long. About 300,000 words. It is the epic story, written in a realistic style,  of Napoleon’s invasion of Russia and how 3 people, members of the  Russian nobility,  live their lives   or die in the course of the novel.  Readers have told me that the 3 protagonists, Prince Andrei, Natasha, and Pierre are among the greatest characters in all of literature.  I’ll let you decide that for yourself. But I’ve tried to make those characters come alive in a way that all readers can engage with them. I also bring in some themes that try to explain how the events in the narrative help us understand the inexorable truths of history. You know, kind of weighty stuff.  Some of the secondary characters are major historical figures, notably Napoleon and the Russian general, Kutuzov. I think my description of the Battle of Borodino is memorable. I tried to make the battlefield come to life so that the reader can almost smell the gun powder. I’ve tentatively titled the novel, War and Peace. The publisher may want to change it though. That Russian novelist, Fyodor Dostoyevsky, is a big fan of this book. He said it is the greatest novel in all of literature. He’s something of a crank, but  he said he was willing to write a blurb to that effect.”

That takes about a minute and says about as much as I can absorb. Of course, I may think that the author making the pitch suffers delusions of grandeur. You might want to tone it down a bit and show a little modesty. At least, if you aren’t Count Tolstoy. Actually, that’s an important point. I really get turned off by people who try to convince me that their book is unique in the annals of mankind. Or that it will definitely be made into a movie, or that Oprah will kneel before him and wash his feet. Managing clients’ expectations is always tough, and I insist that they take a realistic approach to getting published and remember it’s a business and, at least at some level, the book is treated like a product.

Non-fiction pitches are a little easier. What I need to know is what the book is about, why is it important, who’s going to buy it, and what authority does the author have to tell it. This is all information that I will need to consider later on in a book proposal. But maybe you can pique my interest so that I’ll ask you to send one.

So potential authors, I recommend that you relax a little bit and just be yourself. If you have a great idea for a book, you will probably be able to communicate that without resorting to notes and gimmicks.  I don’t really care if your pitch isn’t perfect,  as long as your project is.

I Just Published an E-book, and It Was Pretty Easy

October 12, 2012

Recently we did a blog interview with author Mary Mackey talking about how her agent  republished  all of  Mary’s  out-of-print  novels as e-books. A lot of agencies are doing this now.  Some of them manage thousands of titles, and they are bringing them back in print, usually at very attractive prices. That’s good news for readers.

I decided to do the same thing with my clients’ books. I’d like to describe the steps that I took to get  an out-of-print  book converted and published. It was really quite easy.

The book  I worked on was  Face-Time by Erik Tarloff.  He is a client of mine. I first read Face-Time when it was published in 2000. I loved it then and I still do.  The story is about a presidential speech writer  in Washington who learns that his girlfriend is  having an affair with the President.  Erik’s voice comes through loud and clear. It is very funny and very smart. It  moves effortlessly between high culture and low farce.

Erik had some pretty good inside knowledge that gave this book a lot of verisimilitude.  Erik’s wife is Laura D’Andrea Tyson who was Chair of both  The Council of Economic Advisers and later The National Economic Council under Clinton, both cabinet level positions. Erik, himself, wrote speeches for the President.  Erik is also quick to point out that this book is in no way  a roman a clef.

 

 You can download either the Kindle Edition or the EBUB edition that can be read on all non-Kindle readers. The price is $2.99 (as Mad Magazine would say — cheap!)

So let’s talk about how I got this book published.

First, a word about e-book formats. There are two major digital formats for e-books. The first and most popular is the Kindle Format. It is proprietary and controlled by Amazon. com. Books in the Kindle format  can only be read on Kindle readers (or a Kindle App from the i-Tunes Store)  and only purchased at Amazon. Right now about 65% of all e-book sales are for Kindle Editions. The other major format is Adobe EPUB, an open source format. Most other major e-book retail venues and platforms (i-Pad, Nook, Kobo, Sony, Android) use the  EPUB format. This means that if you are going to make your book available, you will need to go through the conversion process twice, once for each format.

Ok. Let’s go through this step-by-step.

1) Create a word file.  If  Erik already  had a .doc file of the text, I could have gotten it up in a few hours. But he didn’t. So the first thing I had to do was to send the  physical book to an optical character recognition (OCR) service that  scans the book and converts the text to a digital file.  I chose Blue Leaf Scanning , a widely used service for this job. The price  is based on the number of pages in the book. Face-Time had about 250 pages and the price was $26.95. I sent them a copy of the book. And two weeks later they emailed me back a word file and a .pdf of the text.

2)Review and Re-edit. The good news about optical character recognition scanning is that it is at least 99% accurate. The bad news is that it is  only 99% accurate.  What that means is that on any page of the scanned book, there are likely to be about 35 incorrect letters and consequently 35 misspelled words. Re-editing is essential and is the most tedious part of the process.  So I turned it over to Erik.

3)Designing a cover. This is important for marketing. You really need one of those postage stamp size covers so that the book looks professionally published. I referred Erik to my friend and fellow-agent, Natanya Wheeler. She is an agent  at the Nancy Yost Literary Agency and she’s  great.  She also manages their large list of re-published e-book titles and knows how to create a properly designed and formatted book cover. She agreed to design the cover  for us.  She  charged Erik about  $100 and produced a gorgeous cover in the form of a .jpg file.

4) Formatting for Kindle Editions.  Amazon has made it pretty easy to get your book into the Kindle Store. Their program is called Kindle Direct. Publishing through Kindle Direct is free. Amazon will take a percentage of all sales.  Go to the link  and register. Then read the simple step-by-step instructions  for formatting and publishing.   It will lead you through a few formatting requirements, all of which  can be done using Microsoft Word. These  include: paragraph formatting, line spacing, preparing a title and copyright page, table of contents,  and adding addition materials like author bios and blurbs.  Then they show you how to convert your word file to a html file using your own MS Word program.

5) Enter title and product details.  After you have formatted the book on your computer, you need to go back to the Kindle Direct Page and enter   author and title information along with some descriptive catalogue copy and some other copyright details.  You will also have to confirm that you control the rights to the book and are not infringing on anyone else’s copyright.  (If you try to publish a digital edition of Twilight to help get you through the economic downturn, you might run into trouble.)

5)  Upload and Convert. The next step is to take your html file  still on your computer and upload it using Amazon’s simple instructions.  You will also upload the jpg of your cover art.  Doing this is a lot like uploading photographs on Facebook. You can then preview your book on a viewer on the Kindle Direct page  that will make the text look identical to what you will see  on the Kindle Reader. If there are  formatting problems or other errors, you can correct them at this point.

6) Pricing.  Amazon then directs you to a pricing page where you can determine how you want the book priced. It’s your choice. You can give it away for free or price it at $1000 and see if anyone buys it. (They won’t). I priced Face-Time at $2.99. I see a lot of books on sale at that price point. It’s low enough to avoid issues of price resistance. Typically the amount that Erik will receive on each sale is going to be 70% of the price.

7) Publishing. Hit the button and you are now a published author. It will probably take 12 hours before your book will have its own page on Amazon.

9) Formatting and Publishing in the EPUB format using Smashwords.com. A lot of authors and agents are going to Smashwords.com to publish on platforms other than Kindle. The nice thing about Smashwords is that you only have to format and upload once  and they will make sure that the book is available for sale at all the other important venues (Apple, Sony, Nook, Kobo, Android).  I won’t go into all the details of publishing on Smashwords. The process is very similar to the steps used for Kindle. Like Kindle, you need to set up an account with Smashwords.  Then follow the step-by-step instructions for formatting your  .doc file.  If you have the edited word file that you used for Kindle, you will need to make a few formatting changes. But you should be able to upload it to Smashwords in about an hour.  And as with Kindle, publishing on Smashwords is free and the royalties are 70-80%

10) Wait for the big bucks to start rolling in. Both Amazon and Smashwords have very user friendly systems for sales reporting and payment of royalties. You can check these out on their websites.

The hardest part of all of this is the writing. And if you look at most of the self-published books that are available, the quality is (how shall I say this politely?) spotty.  But if you have a manuscript,  regardless of the quality, it’s easy, cheap and fast to get it published. Of course no one’s going to read it if they don’t know it exists. And you probably aren’t going to get review attention for a self-published book, and you aren’t going to get an e-book into the bookstores. Since you’re the publisher, it’s your job to do the marketing. Good luck.

Self Publishing at Book Santa Cruz Using the Espresso Book Machine

August 22, 2012

Casey Protti and the new Espresso Book Machine at Bookshop Santa Cruz

Today we are going to speak with Casey Protti, owner of Bookshop Santa Cruz, one of the truly iconic independent bookstores in America. The bookshop just acquired an Espresso Book Machine, a new technology which is able to create a perfect bound paperback book in minutes. The quality of the books produced are indistinguishable from paperbacks published by major publishers.  It’s a new technology that has the potential of redefining the role of local bookstores.

Andy: Casey, Can you tell us a little bit about the Espresso Book Machine.

Casey:  I’m really excited about our new machine. It is a remarkable technology that allows Bookshop Santa Cruz to print books on site, and on demand.  We can just hit a button and it prints, binds, and trims a paperback book in just a few minutes. What I love about this technology is not only the convenience factor of being able to give a customer a book when they want it, but more importantly, our ability to become a community publishing center- a place to have human to human interactions to create and distribute books.

Andy: The machine allows the local bookstore to become a self-publishing venue? Really.  Tell us about that.

books printed and bound in 5 minutes on the Espresso Book Machine

Casey: For those authors who have a novel or memoir or book of poetry that they want to make into book form, we can help them to bring their work to life through every step of the publishing process.  And not just people who think of themselves as authors. This could mean people who want to create family histories, compilations of family recipes, businesses who want to customize journals, student groups who want to make zines or graphic novels, or teachers who want to put together an anthology of their students’ work.

Andy: Other than self-publishing, what else can you do?

Casey: There are 8 million titles available including works in the public domain and hard to find and self-published titles.  Just the other day we had a man who had been searching for a hard to find book for over 20 years in used bookstores.  We had it on the EBM and printed it for him in 5 minutes.  Although other stores with Espresso Book Machines have seen self-publishing account for 80-90% of all the activity on the machine, more and more publishers understand the EBM as a good way of keeping their backlists available.

Andy:  That’s a good point. It seems to me that as publishers get more commercial and media –obsessed, they are putting their slower moving back list titles out of print faster. Will Espresso change that?

Casey: I think publishers see the EBM as good way of keeping their backlists available even if demand for a given title has waned. It’s economical for them, because they don’t have to warehouse titles or incur shipping and handling costs.  With EBM  we only produce as many copies as are sold.   We want to be able to sell a book that a customer asks for right away. It is of huge benefit to us, to publishers, and to the customer. And he gets the book a lot faster than he would if he purchased it online. And   we’d love to bring books back in print that have local significance and could sell well to the community but that may not  warrant a traditional print run.

Andy: What’s the quality of the books produced by the Espresso?

Casey: Books produced on the EBM are virtually indistinguishable from traditionally produced paperbacks.

Andy: Some people have said that this is a real transformative technology. Can you tell us what this means.

Casey: Six years ago, when I took over Bookshop from my father, I could never have imagined a technology like this.   In the age of the Internet,  our customers are looking for instant gratification, but also personalized services that you can’t get online. The EBM plays to the typical strengths of indie bookstores in terms of community connections and relationships with local authors but then brings it further with new products and services that meet new customer needs.  Our hope is that as more publishers add content to the EBM, we will one day be able to say that we can print any book ever published on demand.  That’s transformative!

Andy: What about ebooks? Aren’t they going to make print on paper books obsolete? That would make the Espresso machine a kind of dead end technology.

Casey: It has been  fun to see people  so excited at watching a physical book being made. Seeing this excitement puts to rest the idea that the book is dead.  Although people rightly want to publish their books electronically, they’d be shooting themselves in the foot if they didn’t also want people to see their books in physical form in bookstores.   Publishers will tell you that local bookstores are the showrooms for books. Online  stores can’t duplicate that experience.

Andy: Let’s say that you want to use the machine to publish your own book. What do you need to bring to the bookstore?

Casey: The EBM machine prints from PDF files that authors can either choose to format themselves (following the EBM submission guidelines) or by getting help from their local EBM operator.

Andy: And how about distribution of the book after it has been printed? Is the store involved in this?

Casey: Authors using the EBM can upload their titles to the main EspressNet catalog making their work available at other EBM locations worldwide and  authors printing their books  at Bookshop Santa Cruz can also enroll in the consignment program to have their books added to the shelves of our store.

Andy: How will Espresso allow Bookshop Santa Cruz to compete with companies like Lightening Source and Create Space?

Casey: The self-publishing services we offer are much more one-on-one and personalized then most of the online self-publishing companies. We can walk through a project with an author insuring that we are able to assess and meet all his needs from cover design to purchasing an ISBN number. The authors never need to go it alone. They can easily reach their local EBM operator for trouble-shooting help and project support in person, over the phone or via email.  This part of the EBM service package is completely in line with what indie bookstores do best – building relationships, customizing services, and providing that human connection that you can’t get online.

Andy: How much does a book cost per copy?

Casey: The base printing price for the EBM is $5.00 + 4.5 cents a page, although we do offer some bulk discounts and price breaks depending on the nature of the project.  We also have publishing packages which include various levels of service including graphic design, proof copies, obtaining an ISBN, etc.

Andy: How long have you been operating the machine in the story? How much business has it been generating.

Casey: The Bookshop Santa Cruz EBM has been operational for about a month, and on a typical day we print anywhere from 20-50 books.

Andy: I hear that these machines are incredibly expensive. How much do they cost? Will they really support a viable business model?

Casey: Typically the machine, software and installation runs $100,00-$125,000. American Booksellers Association members receive a discount on the software.  With just over a month under our belt, it is too soon to determine profitability.  However, since the opportunities to connect with the community to publish works are endless, we think there is a good chance that the machine will be a profit center for the store.  In addition, the feeling amongst your customers that the store is trying to remain relevant and innovate is priceless. Since the margin is so small on books, bookstores of the future need to move further into a service-based model in order to survive.  This is a step in the right direction.

Andy: If you want to find out more about the Espresso machine or if you have a self-publishing project and want to work with the Bookshop, call Sylvie Drescher at the Bookshop at 831-460-3258  or email her at ebm@bookshopsantacruz.com.

Thanks, Casey. We’ll check back in a few months to see how this new technology is unfolding.

Mary Bisbee-Beek, Freelance Book Publicist

July 22, 2012

Today we are speaking with independent book publicist Mary Bisbee-Beek. Mary has worked in publishing as a staff person with various literary presses as well as the University of Michigan Press, and Literary Ventures Fund. As an independent publicist, she works with publishers of all sizes and with individual authors.     I know a few of Mary’s clients and they rave about her. If you need an independent publicist (and we all know how  publishers never do enough for us!), contact Mary at:  mbisbee.beek@gmail.com

Andy: Mary, every author I speak with complains about how little their publisher did to promote their book. This is true of authors whose books were positioned deep in the midlist as well as those with lead titles and high six figure advances.  This makes no sense. After a publisher has gone to all the trouble and expense of publishing a book, why are they just letting them hang?

Mary: This is a perplexing question, Andy. …. Some larger publishers really do seem to take a back seat approach to marketing and publicity or they spend their marketing budget on advance reading copies and a few well placed advertisements. But by and large I believe that most publishers do feel that they are doing the best that they can. One of the conundrums of publicity is that one can always do more.  It takes a lot of work before a book is actually published — but it can’t stop on the pub date nor even six weeks after the pub date. It is a rare book that will carry on it’s own momentum. It requires diligence, nudging, and the perfect storm of activity both from the author and the publicist. And, of course, a little bit of luck.

Andy: You are an independent book publicist. Could you tell us a little bit about what you do and the types of books you work with?

Mary: I prefer working on literary fiction, creative non-fiction, and cerebral yet readable non-fiction books.  I like coming into a book in the planning stage, so if there is a staff publicist working on the book, it’s a good idea to enter the conversation at the same time as this person so that we can figure out who is doing what.  Once the book is published and the author is actively doing readings and events I become more active and more hands on. This is generally the time that the staff publicist needs to move on to other books in the list or to a new list, but I can help to keep the conversation alive on the book beyond the six or eight week mark.

Andy: How does an author know whether she needs her own book publicist or whether she should just rely on the publisher? When should she start thinking about hiring one?

Mary: Once the book is in the design phase or out of copy editing an author should have a frank discussion with their publisher to determine what the publisher is asking of the author. Perhaps this has already occurred and the publisher has been clear on what they can and cannot do – if a publisher says we can publish your book but we can’t market it or we only do limited marketing,  then the author should start shopping for a publicist right away.

Andy: And what do you do that a publishers publicity department won’t do?

Mary: I am able to start with sending out advance reading copies to the industry media, the selected trade media, bloggers, helping the author to set up a Facebook page, to get started on Twitter and to consult on the layout and content of a webpage.  I will set up events. I do all of the media follow-up and I will shout out the book to booksellers when I can.

Andy: Describe a typical marketing plan that you would devise for a client.

Mary: Oddly, this is a tough question, Andy. There is hardly ever a typical scenario and it would depend on whether it is the first book by the author and whether it is  fiction or non-fiction.  I would encourage anyone who is shopping for a  a publicist to talk to me about what might be  appropriate for their book; their timeline; their budget; and whether or not they have the time to travel to spread the word on their book.

Let’s consider the following thumbnail sketch of a  marketing plan.  After reading the book, I would devise a list of most appropriate reviewers; if there were an advertising budget, I would  suggest  the best potential venues…. I am mostly not in favor of paid ads but sometimes they  make good sense. I would add special market possibilities (sales outside the book business), depending on what hooks the book’s story line presents; and then I would come up with a geographically savvy and budget conscious approach for the author. After mailing the advance readers copies,  I would do timely follow-up and start to work on a one-to-one basis with media and bloggers for author interviews. As we got closer to pub date I would start outreach to radio producers and television. I would be reaching out to libraries around the country for ALL COMMUNITY READING programs and I also work closely with reading groups for readings and potential author participation. Depending on the time of year, there are Book Festivals  that can be approached for reading and panel inclusion participation, so this can also be added to the list of possibilities.

Andy: How hard is it getting media attention these days?

Mary: It depends.  If we adhere to the schedules that reviewers and feature writers need , then we have a fair chance of receiving attention.  These days, there are more books for a reviewer to consider, for fewer pages of review space – so a publicist has to be savvy about the rules and deadlines.

Andy: What is the most effective media for book promotion?

Mary: I think  radio.  There is magic in the words, “I heard about it on NPR.”  Certain blogs carry enormous weight but I am also smitten with book review pages in major metropolitan newspapers; and glossy magazines, of course. And I’m very partial to PENNIE’S PICKS.  Pennie  Clark  Ianniciello is the book buyer for Costco and she shouts out an interesting title every month or so. That sticker on a book carries a lot of weight, as does Oprah’s Book Club…. I think everyone is happy that’s back.

Andy: What about Internet marketing? Do you do that as well? Describe it for us.

Mary: I work with a number of bloggers who have solid sites that are exclusively shouting out books and they are powerful.. But this is not an either –  or situation, you need the full power of traditional and newer media in all forms to create a strong platform for your book.

Andy: And here is the $64,000 question. How much can an author expect to pay for your services? Can you give us a ballpark estimate and tell us what it buys?

Mary: I try to work with an author’s  budget and I believe I charge fairly for my services. Generally I ask for a six-month minimum agreement and my fees range from $1,000 to $1500 per month depending on how full-scale a program is needed or wanted. This is a personal discussion with each client, of course. This buys an active place on the desk, in all or as many pertinent media conversations as I have in a day, week, month and as many of situations as described above, from making lists, sending books, follow-up, to setting up events, conferencing on websites, etc.

Andy: Mary, thank you so much. Almost every author I have worked with complains that his publisher didn’t do enough for him. Sounds like authors have some options out there.

Mary:  Yes. Absolutely. Thanks for talking with me, Andy!