Promotion/Events – Being prepared

January 26, 2007


This came to me the other day from Gayle Shanks, the lovely owner of Changing Hands Bookstore in Tempe, AZ. It was in response to my telling Gayle the promotional efforts I am undertaking for a writer’s seminar I’m giving.

I can’t wait to meet you. You are the ‘dream’ author. You do your homework, encourage people to come to the seminar, contact resources, etc. How wonderful it would be if everyone who came to the store did the same.

What a heartwarming thing to say (thanks, Gayle!) – and what an alarming commentary regarding author preparation. Gayle’s observations tell me one thing; many authors don’t lift a finger for their own promotion. They get the book signing and foolishly expect the store to undertake all the publicity of their event. We all know what it is to assume, right?

The first thing to ask yourself is, “What is the goal of my signing/reading/event?” The answer should be to have a successful event, of course. There’s only one way that’s going to happen; you need to tell people about your upcoming event.

In my case, I contacted all of the surrounding writer’s groups in the Phoenix, Tucson, Tempe, Scottsdale area. I have a good friend who’s very respected in that area, and he also served as my “big mouth” – someone who will graciously spread the word about your event.

What can you, Joe Author, do to take the necessary steps to a successful signing? Get the word out. Tell people about your signing. Analyze your book and approach those who would find your book interesting. Example: if you write medical fiction, send postcards that have your cover art on the front and event info on the back to some of your local medical professionals. Remember, having a crowd is far better than yawning into your coat pocket. And store managers ALWAYS remember the big signings. The important thing to remember is, do your part to make sure you have a fun, successful signing.

I’ve tapped the resources of one of our best selling authors, Scot R. Stone. The man is a promo magnet. I asked him for some tips that have served him well. Many thanks, Scot.

  • Advertise for your signing in your local newspaper by providing interview information. Make sure the article is released the week before your signing. If it’s released too soon, people will forget about it. Sometimes the store will submit the information, saving you the trouble. The store can either request information about you and your book for the newspaper directly from you, or go to your website to pull it.
  • Advertise on a local radio station, or do an interview. Sometimes the store can give you contact information, other times you will have to hunt it down yourself.
  • Fliers. If you are doing a signing at a local store, advertise it with fliers at the local library in the same town.
  • Provide fliers with your book signing information. Have the store place them near the registers. Provide them at least two weeks in advance, and don’t print more than a hundred. You usually can make two fliers out of an 8 1/2″ by 11″ piece of card stock paper. Don’t print the fliers on colored paper. It makes it too hard to read, but make your wording, instead, should be colorful. Make the time, date and place of your signing stand out. Sign the fliers to entice people to take it, or ask the clerks to stuff them in the customers’ bags.
  • Set up your signing at least one month in advance to give you enough time to prepare for it, and the store enough time to order your books. (Lynn’s note: It’s a good idea to check two weeks before your event to make sure they ordered the books – oh, the horror stories I could tell)
  • Poster display. Not all stores do this, but ask if they will make a poster advertising your event. Obviously, window placement is ideal, but take whatever you can get. It’s perfectly fine to ask if they have a poster holder they can put in a high traffic area.

Writing a Promo Plan

January 26, 2007

Nothing can strike fear or disgust more than the invariable request for a marketing plan. You’ll hear a range of opinions on the subject, depending upon who you talk to. Some will say, “The author’s job is to write, the publisher’s job is to sell.” Sure, I agree with this – to a point. It’s not the author’s job to SELL. That’s the publisher’s and distributor’s job. But in this day and age of limited shelf space and a revolving door of novels, the reality is that local author promotion plays a key element to generating publicity.

Whatever your feeling on the subject, author participation in promotional efforts are today’s realities, and it’s not uncommon for agents and publishers to request an author’s promotional plan. Whenever I’ve received a submission from an agent, they ALWAYS include a promo plan.

Most of the promo plans that I see are generic, the #1 being, “Bookstores are a great place.” Yes, I realize that. Others include, “I travel to my parent’s house in Florida. I could do something there.” Okay. What, exactly?

If you tell me that you can do a writing workshop, is this already a reality? Have you talked to bookstore events managers about your idea, and are they amenable to this endeavor? CRMs can be funny little creatures, and it’s always good to know the local event manager or indie store owner since they’re in the position to do a lot for their local writers.

See, what I’m getting at are specifics. The “I could do this” or “I could do that” aren’t promo plans – they’re proposals. The problem with proposals is their implementation. I’ve seen plans that were fabulous on paper, but they never got off the ground because the author was unwilling to implement his own ideas.

Here’s a sample promo plan:

  • I’ve talked to three of the local hospitals and they’ve invited me to speak in their lunchroom.
  • The hospital gift shops have given their go-ahead to a book signing during peak visiting hours.
  • I’ve spoken with the local alternative healing groups in my area, and they’ll be joining together to throw me a book party.
  • The manager/owner of a popular restaurant has agreed to host a reading/signing of my book.
  • I’ve contacted my local newspaper and they’ve agreed to write an article about how my book could be very influential to the way people look at the medical community.
  • I have a list of all the alternative healers (this includes chiropractors and acupuncturists), and I plan on sending them postcards to advertise my appearances.

In each of these points, the person has already done the footwork, so I know there is a plan “in place,” not just merely “proposed.” This gives me a level of confidence that the author is going to kick butt in their local area. I, in turn, pass this off to my distributor, who passes this on to the sales team.

Bragging rights are huge. Author involvement is huge. Those who are active get a lot of airtime with the sales team. If I’ve offered someone a contract it’s because I feel the book has great selling potential, and we want to capitalize on as much promo time as we can.


And Where May I Contact You?

January 19, 2007


A frustrating circumstance that invariably happens is to read a terrific submission and not have any way of contacting the author. Okay, I’ll agree that this seems insane, but it happens more than it should. I’ve just plucked out my hair over this very problem. I like this story I received the other day. Great hook, clear synopsis – heck, I even see a clear sales market. Problem is, the author included no SASE, phone number, address, or email address. The envelope it arrived in is long listed as missing in action. My gum-chewing secretary opens the mail and tosses the pertinent stuff on my desk before asking if she can leave for the day.

The submission process is like planning a trip where you refer to your checklist. Normally the agent or editor has done this for your in their guidelines, and all one need do is refer to that list.

  • Have I remembered to include a witty cover letter? Check
  • Is my bio up to date and offers a good tie-in to my manuscript? Check, check
  • Did I give my contact information? Clunk

Please do yourself a favor and don’t rush the submission process. Make sure that you have everything you need to insure your success and professionalism. Dot the ‘i’s and cross the ‘t’s. And don’t forget your toothbrush.


Car 54, calling all synopses…

January 10, 2007


As submissions cross my desk, I can often be found biting my nails over the vast number of writers who don’t understand how to put forth an effective synopsis. A synopsis, whether it’s a paragraph or two pages, has to be clear to the poor dolt who’s reading it. I am that dolt. If I’m left scratching my head trying to figure out what the storyline is, I’m more likely to drown my confusion in a glass of wine and reach for the form rejection. I really hate doing that. Okay, I’ll admit that I like the wine part, but I detest rejecting an author because they can’t communicate effectively. Yet, day in and day out, I do just that.

I’ve had many writers tell me that they can blow out 90,000 words with a smile on their face, but they’d rather have root canal without aid of some serious drugs than write a synopsis. Huh? All you’re doing is telling the aforementioned dolt (me) what your story is about. Sure, I like to be entertained with a witty synopsis just as much as the next dolt. It’s the difference between my being thrilled to jump into your first pages or dreading it.

I also understand that it can be difficult to put together a few short paragraphs that will part the clouds and make angels sing. Relax. It’s okay. But what you have, have, have to do is tell me the guts of your story. Don’t smoke my doors off with introducing characters that have nothing to do with the main guts of your story. Secondary characters are terrific in a story, but leave them out of your synopsis. They make my eyes glaze.

A synopsis has to have a plot:

  • Identify the characters (protagonist/antagonist) – what makes us empathize with the protag?
  • What dilemma does the protagonist face?
  • Does the problem get resolved?
  • What is the outcome?

If you tell me that nothing gets resolved in your story, then you may want to revisit your story and buy a snooze alarm. Or buy it for me. The most important thing is to never give an editor a reason to reject your work other than the story may not be right for them or the writing doesn’t live up to their standards. The true tragedy is in being rejected because the editor can’t figure out what the story is about. If you can’t communicate it, I’m not going to slog around trying to find it.


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