The State of Book Publicity

A change is needed.

As I contemplated what to write this week, I was overwhelmed. The news gives me whiplash, and I’m worried about the book industry. I’ve also been reflecting on how to pivot my business to meet the moment and what that entails for authors. I don’t think anyone can move forward without evaluating the current state of book publicity, so here we are.

Something that has always baffled me about book publishing is the reluctance to tell authors the truth about the roadblocks publicity encounters. I think it is partly because we, as book publicists, don’t want to hurt anyone’s feelings, make them angry, or deal with authors who won’t understand why their book isn’t receiving as much attention as another author’s. None of this serves anyone well. False hope often leads to disappointment, so it’s best to be candidly honest.

As much as I explain that the book review space is fleeting, it still feels like reviews are expected. I’ve argued that reviews don’t sell many books because there isn’t enough engagement with them (i.e., clicks) to make a difference for consumers. I don’t see that changing anytime soon. As much as I dislike book lists, they receive more engagement than other forms of book coverage. Don’t believe me? Read this excellent roundtable discussion in

Alia Hanna Habib

‘s newsletter Delivery & Acceptance. The position I’ve found myself in over the past few months is this: I send hundreds of pitches, follow up on those pitches, and often get silence in return. I’m not alone—publicists across sectors are experiencing the same thing. To say it is deflating is an understatement. It’s not about the books as much as it is about too many published books and not enough places to cover them. It is also related to the current state of mainstream media, which is quite grim.

If you’re an author, reflect on what you want from a publicity campaign that doesn't involve reviews. Instead, consider where your book fits into newsletters, podcasts, gift guides, social media, and digital media. I would venture to say that campaigns should prioritize digital platforms. Here’s why: The script has flipped, and mainstream media frequently takes cultural cues from social media. If something goes viral, you’ll often see it covered somewhere. Since virality is rare and unpredictable, exploring how different content can bring more attention to a book is prudent. For example, let’s say you appeared on a podcast that has a video component. You can easily edit podcast video clips and post them to various platforms. This elevates your identity as an author and helps brand your book.

Additionally, video clips are an excellent way to share your expertise on a topic if you write nonfiction. I’ve been collaborating with a client for a few months, and I believe we have recently surpassed 50 podcast interviews. Some podcast hosts have joined the Facebook group we established related to the book. It’s this kind of synergy that helps word-of-mouth. It doesn’t matter how quickly the Facebook group grows as long as the number of members is in the “plus” column.

Authors must recognize that reviews aren’t the only measure of a book's success. Although I’ve mentioned this before, many authors still lament that their books didn’t receive enough attention. My question for them is, what kind of attention were you hoping to attract? It’s one thing when a book doesn’t resonate with consumers, but it’s an entirely different situation if it doesn’t receive reviews and no other avenues are explored. Placing companion pieces in a book is an excellent way to elevate an author’s identity, as long as the author understands that they must do much more to sell their book. The idea with companion pieces is that publicity begets additional publicity. Two excellent resources in this realm are The Witches of Pitches and Study Hall. There is also a great Facebook group called UPOD Academy that’s helpful for pitching and placing pieces.

The notion that authors, marketers, and publicists have a blank canvas for book promotion is often overlooked because the same templates are repeatedly used: review coverage, NPR, specific podcasts, Goodreads, etc. I’d be lying if I said there’s nothing wrong with the status quo; everything is wrong with it. Hundreds of book publicists pitch the same people at those outlets daily. Sometimes, I feel guilty about how long it takes me to begin my pitches, but I thoroughly research media lists and tailor them to individual authors. I skip some outlets because I’ve been around long enough to understand the editor’s preferences. Moreover, there has been significant turnover in media, meaning contacts from six months ago might be lost, and the book coverage of an outlet could be severely diminished. Besides, as an author or publisher, how valuable is preaching to the converted? In other words, the audience size for book reviews is shrinking, not expanding. Wouldn’t you want to do things that appeal to a broader audience? If you do, you must meet them where they are, often on social media or independent media.

If streaming’s major competitors are TikTok and YouTube, then a book’s key competitors include these platforms and streaming. Furthermore, audiences are more demanding than ever; they seek entertainment while desiring a connection with the person entertaining them. People crave comfort in scrolling through familiar accounts on Instagram and TikTok. In this context, the question becomes: how can you, the author, connect with your audience? There’s no single answer since it depends on the book, but we can’t pretend that a book will attract attention simply for existing. It’s not enough to write a great book (though that certainly helps), just as it’s insufficient for publicists to pitch books by merely sending blurbs and a press release in an email. The caveat is that, for some books, sending email blasts is necessary due to staffing and time constraints. Sorry, journalists, it does have to be that way sometimes.

Since we are discussing cookie-cutter campaigns, we must include book signings. Authors should avoid participating in events merely for validation. While we would all love to be in a room filled with people who adore our work, such opportunities are rare. Today, most bookstores want to know an author’s platform, the number of newsletter subscribers, and the potential event attendance before they agree to host it. Bookstores are businesses with razor-thin margins that need to turn a profit. This means they will decline many events and schedule only those where they know a healthy number of books will sell. Can you blame them? When considering events, think strategically. What is the purpose of the event? Can you invite several people? Can you include a conversation partner so the event is not just a reading?

Most importantly, will your publisher support your efforts? More often than not, the Big Five are pulling back on tours, leaving authors to self-fund their travel and accommodations. While nothing is wrong with this, one must consider the cost-benefit analysis. How many books must be sold at each event to make it worthwhile? How will you make the event attractive enough for people to pay for food, gas, a babysitter, and a book? Or can you break the mold of the status quo and do something creative and engaging? I’d love to see more experiential marketing in the industry. Is this where I admit I never attend book signings unless they are work-related? Okay, I have attended two book signings that weren’t work-related: a David Sedaris event at Carnegie Hall and a Matthew Perry event at Town Hall in NYC. I don’t think I’m alone because attending a book event voluntarily takes a lot. Maybe that’s why I understand the consumer’s side: I am one.

I often encounter a million-dollar question: “Should I hire a publicist?” My response is that it depends on your goals. If you want someone to pitch and follow up with book review editors solely, and you already have an in-house publicist, I don’t believe you need to hire anyone. Conversely, if your publisher has a small or non-existent marketing and publicity department, you should talk with some freelance publicists who also offer marketing services. If you’re somewhere in the middle—you have an in-house publicist but want someone who will focus on non-traditional media—it’s worth conversing with a freelance publicist. I can’t speak for my colleagues, but a discovery call is free unless you want a consultation with me. A discovery call is when we discuss your book, goals, where you’ve been, and where you want to go as a writer. It’s also a good way to see if personalities gel. What I see people get very wrong about hiring a publicist is the cost. While some charge $20k-$40k per campaign, many charge far less. I’ve seen $40k brought up many times as the average cost to hire someone, and I cringe because authors will automatically think they can’t swing it. It depends on the scope of work and what you need versus what you think you need. I won’t lie; sometimes, I regret not charging enough for the time I put into a project. It’s hard to know how things will go in certain situations until you start.

Where does this leave book publicity? Authors should understand the book review landscape and recognize the need for a Plan B. It involves managing what you can as a book publicist while acknowledging that you cannot persuade someone to cover a book. Finally, it requires greater creativity and patience. My current attitude is one of excitement about doing things differently. No rules state that marketing and publicity must stay the same; instead, the perception of those things within the industry needs to change. Let’s hope.

END NOTES:

What I’m reading: My new MA class started, so I have my nose in a textbook about linguistics. My new favorite word is portmanteau.

What I’m listening to: Ione Sky’s memoir, Say Everything. It’s such a good audiobook! I am fascinated by Gen X kids who grew up in L.A. Ione has had an interesting life.

What I’m watching: I have not watched the newest episode of White Lotus, but I made the mistake of reading recaps, and I’m bracing myself for “that” scene.

I’m excited to watch The Studio on Apple+. It stars Seth Rogan as the head of a failing movie studio and how he tries to save it.

I’ve moved on in my real estate reality show binging. I’m now watching Buying Beverly Hills. It’s not as sexy as Selling Sunset, so it was canceled after two seasons.

I also watched a touching movie last weekend. If you have Peacock, check out “I’ll Be Right There,” starring Edie Falco. It gave me all the feels.