Getting Through the Post Publication Blues

How reframing media brands and defining audiences can help authors through rough patches.

I was going to make this a paid post but decided not to. Instead, next week, I will write a paid post following up on this newsletter edition, in which I will discuss finding and maintaining digital surrogates for authors.

So, your book was just published, and you thought there’d be fireworks every day the week it went on sale, except for the faint sound of crickets. You feel vulnerable and think perhaps writing is all for naught. I’m here to tell you all is not lost.

During my years as a publicist, I’ve witnessed countless authors struggle in the weeks after their book was published. I understand the feeling. In some ways, agents, editors, and publicists go through a rough spot after a book they’ve worked tirelessly on is published to little fanfare. We start doubting ourselves and wonder if we got it all wrong. Some of this is, of course, caused by the external reward system where we find ourselves: A good review means we got it right, a slew of interviews means we did our jobs well, and hitting the bestseller list feels like winning the lottery (though I have only won $4 playing the lottery, I was excited about it). The problem is that we rely on another brand to validate our work. For example, without the brand equity of The New York Times, the bestseller list and Sunday Book Review would be less meaningful. If Kirkus Reviews weren’t as prestigious, we’d be okay if they skipped reviewing our books. Hit the USA Today bestseller list and call your book a National Bestseller. If I had a magic wand, I would wave it and make the publishing industry stop caring about validation from media entities so authors could take a breather.

Since taking a brand management class in my MBA program, I’ve considered how brand equity relates to book publishing. The industry relies heavily on big, prestigious media brands to give books a stamp of approval. Years ago, when I got a piece about a book in the New York Post, I had to explain to the president of sales at a publisher that it was a good media hit because most media in New York City read the Post and an item there would beget more publicity—and it did. For years, sales departments didn’t understand the book blogs counted or that online coverage was better than print because more eyeballs saw the former. This thought pattern trickles down to publishers and editors, so publicists are often asked, “Can you get anything bigger for the book?” Sometimes (okay, most of the time), an eye roll is involved in the response. If we could get something “bigger” for the book, don’t they think it would have happened already? Further, what does “big” mean in today’s gutted media landscape, and how best can authors navigate it?

Undoubtedly, The New York Times, The New Yorker, The Atlantic, The New Republic, the Washington Post, and other legacy media are prestigious brands. However, there is nothing wrong with niche media whose brands have eluded some publishers and salespeople. Why? Because the media is more likely to reach a book’s specific audience, that is what’s most important. If you are an author hung up on coverage in prestigious legacy media, I want you to think about how you are reaching your audience instead of a media brand. Have you defined your audience to the point where you know you’re hitting the right spots to get them? Or are you dependent on a big media conglomerate’s brand to reach them? If it is the latter, you have some work to do.

While publishers must consider the number of books they acquire versus the number of marketing dollars they can put behind each book, authors must also consider how they want their publishing story to play out. It is not a good idea for authors to wait for their publishers to 1) tell them what to do and 2) tell them what they are doing for the book. Being proactive rather than reactive is a better strategy. I understand why authors become disenchanted with publishers and get aggravated by the lack of communication or results. Here is the thing: you don’t need permission to promote your book or continue promoting it. It’s your book; if you plan on writing more of them, you must keep building upon each title. That means knowing your audience and consistently cultivating a relationship with them. Whether it is six months before your book’s publication or two months after, you must connect with and retain your audience. I created an acronym so you can remember what to do on any platform:

•       C: Consistency=Post regularly to build your audience and don’t stray too far out of your lane.

•       A: Authenticity = Be the most authentic version of yourself without giving away too much personal information. Focus on the quality of content, not the quantity.

•       R: Reach & Relatability=Pay attention to your reach.  If no one is engaging with your content, pivot but remain relatable.

•       E: Engagement=Engage with readers AND other writers. You are a storyteller—tell a story!

Some other ideas for content:

•       You must engage to get others to engage. Don’t hesitate to offer a humorous anecdote or experience in the comments.

•       Try giveaways, polls, asking questions, and reposting other users’ content (aka UGX).

•       To keep your audience interested, practice both reactive and proactive engagement. 

•       Go beyond reposting and liking; start commenting to start a conversation.

•       Acknowledge and answer questions.

•       Respond to comments with humor or warmth (unless they are mean!).

It’s important to remember that these activities are just as important after your book is published as they are prior. If you feel depressed because an avalanche of reviews isn’t happening for your book, remember they don’t sell many books anyway. What sells books is connecting with your audience, which is something to get you out of bed. Take solace in that we are in this together; you are not alone, and there is a community for you. It would be best if you did some work to find them.

-Kathleen