Launching a book is thrilling. Lots of time, energy and thought goes into planning it. But that’s not the only day you should be thinking about.

You’re going to have that book for a long time. So although launch day is important, the real question is: How do you keep the book in the minds and in the mouths of people all over the world for a long time? It all starts way before your book is even written.

Start before your book exists.

Before you’ve even written a book, you can start by building a platform. This is how your future readers will find you.

Building a platform means putting yourself out there so the people who need to hear your message can find you. That means pitching as a subject matter expert. I did this a lot before my first book, Listful Thinking, was published. It meant I could back up my expertise when I was trying to find a publisher. And it meant I was ready to share my book when it came out.

When you’re building your platform, think about where your audience is likely to be—and go there. Pitching traditional media is important, but so is social media. And don’t forget about blogs, podcasts, and live-streaming shows! You can actually create an editorial calendar to keep yourself accountable. 

Once you have the book deal. 

Celebrate! This is a big moment. Then it’s time to sit down and set your media goals. It can often take a year or more from getting a book deal with a traditional publisher to the day of your book launch. You’ll need that time to plan a detailed strategy to connect with readers. 

One year before your book launch.

A year seems like a long time. In some ways it is—you can fit a lot of events, media, and content into a year. But it can also fly by if you don’t start planning. One year out is a good time to identify the outlets you want to be featured in. It’s also a good time to think about media training. It might take a little while to find a media trainer and actually get started, so you want to give yourself plenty of time. Or you could take a training course like mine called Media-Ready Author to get ready at your own pace. 

You’ll also want to start doubling down on your content calendar. Make a plan and stick to it! 

Six months before your book launch.

Think about what kinds of support you’ll need for the launch, such as a publicist or social media manager. Those people will help you start securing event dates for the launch period—both virtual and in person!

During this time, you’ll keep up your content creation schedule. It’s a good time to revisit your strategy. Where are people really engaging with your message? What posts aren’t getting as much attention? Use that feedback to tweak your strategy.

[Media-Savvy Author: How to Hire Professionals for Your Book Launch.]

Three months before your book launch.

Keep creating videos, blog posts, and social media content. This is the solid foundation of your author platform. Now is also the time to get more serious about pitching traditional media in conjunction with your book launch dates. 

Two months before your book launch.

Start thinking about your wardrobe, makeup, and overall presentation for your book launch events. Venues for your launch events should be booked at this point. Make sure to promote those events via your social media platforms. And start getting excited!

One month before your book launch.

The countdown has arrived. Self-care is key one month before your launch. You’ll want to keep up your schedule of interviews and content, but don’t neglect your basic needs. Get plenty of sleep and eat a balanced diet (which can be tricky if you’re traveling for events!). 

Speaking of events—if you’re traveling a lot, now is the time to concentrate on your packing and prep strategy. Layers, items that don’t wrinkle, and back-ups of everything you need are key. 

Day of your book launch.

Take a moment to breathe and take it all in. This is a big day! Bring yourself back to your “why” — the reason you wrote your book in the first place. Remember, sharing your thoughts and ideas with the world is a public service. Thinking about it like that can be very useful for the promotion process.

Keep the momentum going after your book launches.

When you’re in the book launch phase, you’re really invested in the book itself. That’s only natural. It should be the focus of attention at this point! But once your book is a few months old, you have to shift your focus and start to consider how your book can support you as an author and expert—not how you can support your book.

This does not mean you shouldn’t talk about your book. Of course you should! You just need to find new ways of framing and contextualizing how you talk about your book. The attention needs to be on how your knowledge (and by extension, your book) can solve problems or shift people’s mindsets.

The relationships you build with journalists, reporters, and producers are some of the best resources for you as you consider your post-launch strategy. Thank you notes (paper ones—yep!) go a long way in demonstrating your appreciation.

These really do make an impact on fostering positive relationships between you and members of the media. You can then leverage those relationships to pitch again from a new angle. 

You might be wondering what exactly you should pitch—how can you use your book as a jumping-off point that inspires the next stage of your media strategy?

Well, here’s a little secret: Everything you talk about doesn’t have to be in the book. In fact, it can actually be counterproductive to limit yourself to only things you covered in your book. You are an expert on a topic that includes what you talk about in your book. You can absolutely pitch on related areas within your expertise that didn’t fit into your book—and you should! This is essential to any sustainable media strategy. 

The post Media-Savvy Author: Setting Your Media Goals appeared first on Writer's Digest.

Sometimes you’ll face skeptical anchors or interviewers who push back on what you say. It’s important to be prepared for those moments so you can handle them with poise and grace.

I’ve been on both sides of this—both as an expert answering questions and as a journalist asking them. If your ideas push back on convention, offer a new solution to a problem, or are unexpected, your interviewer might ask you probing questions or ask you to defend your perspective. They’re not out for a “gotcha” moment. It’s their job to get the full story. But it can feel uncomfortable if you’re not expecting it.

Here are five ways to get through unexpected moments in an interview.

1. Prepare for pushback.

It’s OK for people to disagree. It’s OK for people to question your ideas. But it’s also stressful.

The way to reduce that stress is to prepare. Here are some questions you can ask yourself and prepare answers for:

• What might someone ask if they wanted to play devil’s advocate?
• What is the mainstream viewpoint that you’re challenging, and why are you taking that position?
• What evidence do people who disagree with you have, and what would you say to refute that evidence?

You might not be asked about any of these things—but you might be. That’s why it’s important to have thought through your talking points prior to your interview.

When I work with authors, I help them speak in soundbites by developing short, medium, and long answers to likely questions they’ll be asked. I call it the Accordion Method and I use it myself when I prepare to do media. It’s something I dig into a lot in my online training, Media-Ready Author.

2. Pause and have grace.

Say you’re on live TV and someone asks you a question that you just didn’t expect. Before you answer, take a breath. Make sure you respond with grace rather than getting defensive.

Smiling is always a good idea during media interviews—and especially if you’ve just been asked a difficult question.

You don’t need to invent anything on the spot and you don’t need to “win”—it’s not a competition. Instead, embrace pushback as an opportunity to make an even stronger point.

3. Return to your talking points.

After you take a beat, return to your talking points and apply them to what you’ve been asked.

I often go on TV to talk about productivity, so this is something I’ve experienced firsthand.

For instance, I was once speaking on PIX 11 News in New York City about how to have a four-day work week. One of the anchors was skeptical about the idea.

It definitely rattled me! But I took a deep breath and stayed on topic. I wasn’t there to convince him. I was there to share my tips with you, the viewer.

So I stuck to my talking points and responded to his pushback to the best of my ability. I looked at the facts. People who work four days a week report that they’re more productive. It’s hard to argue with that.

4. Embrace imperfection.

Not everything is going to go perfectly in every interview. Especially if you’re doing a lot of them.

If you stumble a little as you try to get back on topic, it’s OK! Don’t beat yourself up about it. You did your best. You kept your cool and you kept going. You are your own worst critic, and other people probably didn’t experience the moment the same way you did.

[Learn more from Paula Rizzo at WD: Media Training for Authors]

5. Use it as a learning opportunity.

Every time you’re asked an unexpected question, you get better at responding. It’s true! The first time is always the trickiest, no matter how diligently you prepare.

Use these moments as opportunities for learning and growing. Rewatch or re-listen to interviews and decide if you want to respond differently next time or if you liked your reaction. There will always be another interview—one response isn’t the last word!

Keep getting your message out. Not everyone will be receptive to every message, video, or post. But that’s OK—you’ll find your audience.

Click to continue.

The post Media Tips for Authors: How to Prepare for the Unexpected appeared first on Writer's Digest.

Making your own video content means you don’t need to wait for producers or editors to say “yes” to you. You don’t need to wait to be found by the media. And remember—you won’t be discovered if you’re not out there to be found. That means the time is now to start creating content that supports your profile as an author and boosts the chances of a successful media pitch.

Why? Well, producers want to see what they’re agreeing to when they invite someone on their show. If you have an online presence full of fresh, interesting videos, they’ll know that you are someone their audience will find compelling—they will have seen you do it already!

So how can you create video that does all these things? It’s a matter of knowing your tools, deciding on your content, and making strategic decisions and how and when to share your videos.

1. Get to know video-creating tools.

While there are pros and cons to both live and pre-recorded videos, I prefer live videos. They can save you time (and energy) once you get the hang of them. Live videos also help you get over perfectionism. Plus, they keep you accountable, since if you said you’re going live at a certain time, you’ve got to stick to it! Of course, you can always re-use your recorded live content. For more tips, here is my guide to going live on social media.

You don’t need to spend a lot of money to create a set-up that looks professional. Good lighting is essential, whether that means sitting close to a natural light source or using lamps to create soft brightness. You can learn more about how to do this here.

When it comes to pre-recorded video, I am not a fan of virtual backgrounds or other video-production tools that change your background. Why? Well, they’re not high-quality, they don’t serve a purpose (besides hiding clutter!), and they take attention away from you. If you have a green screen, then this is an exception because it will look much better.

A real background is more professional and authentic. I suggest having your background be neutral and intentional. That could mean a neat office space, a wall with a painting or print, or even a blank wall.

Another great tool is Streamyard. Streamyard lets you stream live video to multiple platforms at once. You can also create an announcement about when your live video is airing so that people can plan to tune in. I use it for all my live-streaming of my show Inside Scoop. I have a class called Go Live Masterclass that teaches you how to create your own live-stream show and repurpose the video here.

2. Let your point of view decide your content strategy.

When deciding what topics you want to focus on, it’s important to define your point of view.

A lot of people struggle to decide exactly what they’re going to be known for and talk about. Remember, you have to choose one thing—for now. Who are you, and why should people listen to what you have to say?

Let me give you an example from a guest on my live-streaming show Inside Scoop. My guest on this episode was Nikki Dinki, a chef and cookbook writer. We met way back when I was a senior health producer at Fox News Channel. When Nikki was building her online following, she had a realization that helped her shape the rest of her content.

Nikki explained that to get people to follow you, you have to be very clear about what you’re offering them. Now Nikki knows that veggies are her thing. But she didn’t know that immediately.

“I’m not really a vegetarian,” Nikki explained. “I celebrate veggies. I cook them a little bit uniquely. But I incorporate meat.” Her brand was cemented while competing on Food Network Star. On the first day, she had to give a spiel about who she was. And she said, “I cook in a way with meat on the side.” That became who she was: “I just felt like everyone lit up and I felt like I’m onto something.”

With her perspective defined, Nikki could go about creating video content that spoke to people who connected with this mission.

When I first started my blog ListProducer.com I wrote only about lists and productivity and that lead to my first book Listful Thinking. I got known as “the list producer” or “the list lady” and yes, I still talk about lists all the time, but that’s not the only thing. I’ve expanded my content to talk about ways to live an easier, less stressful life while being efficient.

Imagine that you have to give an elevator pitch to your audience. What would you say in one or two sentences to get right to the heart of what you are doing and why?

3. Make a plan for sharing content.

Consistency is key when it comes to creating compelling videos. If you do Instagram stories, try a short video every day. For YouTube, post once a week. When people know to expect content from you, they’ll be more likely to tune in and get to know you. I’d also make sure to send your email list these video links—you’d be surprised by how much people miss. Don’t be afraid of self-promotion. I wrote about that in a past edition of this column.

You should post where you already have the most audience engagement. If that’s Instagram, go for Instagram. If that’s Facebook, post there. You should try to match your content to the platform. Tutorial-type videos, for example, work best on YouTube. But if you want to do shorter videos, try Instagram Stories or Reels.

Creating your own video is a key skill for authors. It may seem intimidating at first, but once you get comfortable with it, the possibilities are endless.

Click to continue.

The post Think Like a Producer: How to Create Compelling Videos appeared first on Writer's Digest.

Kirkus Indie reviews reach readers via the Kirkus website, which gets 3.3 million monthly page views. Indie reviews also appear in Kirkus Reviews’ print magazine, which has 15,000 industry readers; can be the focus of attention-grabbing marketing materials; and are distributed to Kirkus’ licensees, including online retailers, such as BN.com, wholesalers, digital newsstands, academic databases, and others. An Indie review can be used to pitch publications for coverage or catch the attention of agents, editors, librarians, and other publishing professionals.

At Kirkus Indie, a book is carefully matched with a qualified reviewer who has deep expertise in the book’s genre. And while positive reviews aren’t guaranteed, the author will always receive valuable feedback from an expert. About 3% of books receive a Kirkus Star, Kirkus’ top honor for a standout title. Reviews balance summary and critique, outline salient points, and describe strengths and shortcomings. Most books receive mixed reviews and include at least one positive line suitable for marketing materials; some books do receive negative reviews, which the author can choose to keep private.

Kirkus has helped authors catch the attention of traditional publishers. Sylvain Neuvel, for example, an SF author who had his debut novel, Sleeping Giants, reviewed by Kirkus, saw his career launched by a Kirkus Star. His experience was covered by the Wall St. Journal. Neuvel said, “The starred review I received from Kirkus won the attention of both my agents, film and literary, which in turn has led to a fantastic publishing deal in North America, the sale of foreign rights in several countries, as well as a film option with one of Hollywood’s major studios.”

Other authors have relied on a Kirkus review to boost sales, enough, at times, to reach the top spot on an Amazon bestseller list. James Bannon, author of I2, saw his novel hit number one on Kindle’s bestselling fiction list and overall Kindle downloads. Bannon said, “Kirkus definitely played a major role in making this happen!”

Whether you’re looking for feedback, a way to pitch agents, or to set your book apart from the others, a Kirkus review can do a lot of that work for you. Kirkus is now offering a $50 discount exclusively for Writer’s Digest readers for both the standard review and the expanded review.

The post The Importance of Getting Your Book Reviewed appeared first on Writer's Digest.

(10 Things a Publishing Copywriter Discovered About Book Blurbs.)

But there are hard parts, too. There are no guarantees in this industry, and it can be tough sometimes to see how much effort the author, agent, editor, publicist, marketing and sales team (not to mention production and design and everyone else that goes into making a book) put in, only for a book not to sell. I often get asked the question from friends and family why a certain book doesn’t sell—and if we knew the answer to that then publishers would be a lot richer than they are! I think having a front row seat to the pure luck and chance that sometimes dictates whether a book is successful can be incredibly stressful—and is probably why I didn’t succeed in my dream to become a published author for so long.

I’ve learnt a lot in the past 10 years—and I’m sure I have lots still to learn. I’ve learnt that luck almost always plays a part in a book’s success. I’ve learnt how some books can take the industry completely, brilliantly, by surprise, whether self-published, traditionally published, or digitally published. I’ve learnt how hard you have to work to get a book noticed. I’ve learnt just how much competition is out there. I’ve learnt that it’s often about the long game and the connections you form, the ideas you have along the way. I’ve learnt just how hard everyone in the industry works. No one gets into publishing to earn big money, and I think it’s important to remember that. There is a lot of work to do, and not enough time to do it. I’ve learnt that most authors write alongside a day job—and that it is hard, even more so these days, to constantly compare yourself to others out there who seem to be ‘more’ successful (however you define that) on social media.

If you’re getting into publishing just to get a book deal then you’re doing it for the wrong reasons, and probably won’t have a hugely long career—first and foremost, everyone is in the industry because they love books! That said, I always did want to write a book, and working as a book publicist definitely affected my writing. Firstly, I read more! I don’t think I would have read so widely, across so many different genres, if it hadn’t been for working in the industry. I am introduced to new books and new authors on a weekly basis, and there is no doubt that this has pushed me to think about what I really want to write. Being in the industry has also meant that being an author felt like a feasible dream—because I meet authors all the time. I go to events with them, chat about our families, talk about what is and isn’t working in books at the moment… It made authors feel like real people. People like me. People who have worked hard and have a great story to tell—and who have followed the dream to publication.

But while there have been good things, there are definite downsides. I tried to write many novels before I landed on One Moment. I had two near misses where I got to the agent stage with completed novels, both in very different genres, but got a multitude of rejections from editors, and didn’t secure a publishing deal. I also wrote three complete novels, none of which were all that good, because I was sort of ‘panic writing.’ I was trying to work backwards, seeing what was doing well and what publishers were acquiring for big money. It’s something you’re always advised against but being in the industry made it near impossible for me to filter that out. I was in those acquisition meetings, having those conversations about what ‘trends’ were working—and then I tried to write according to what I was hearing about the market. And it just didn’t work! It was only when I took a break from the industry and was doing something completely different abroad that I was able to write and tune out all that noise—and that’s when I finally started making some headway.

Check out Becky Hunter’s One Moment here:

Bookshop | Amazon

(WD uses affiliate links)

Even now, when I have achieved what I always wanted to—a two-book deal in both the UK and US—I am still seeing how competitive it is on a daily basis during my ‘day job.’ I see over and over again how much timing and luck plays a part—I have seen authors get huge publishing deals, have secured them an enormous amount of PR and then, for whatever reason, the book just doesn’t sell. This can quite often be the end of someone’s career—unless they have the resilience and the courage to pick themselves up again and try something new—and that fills me with fear if I let it! On the flip side, there are those books that take everyone by surprise and become a whirlwind success, and there are authors who have written 10 books and then their 11th is the bestseller. So it can be exciting, as well as scary.

Now, in theory the hard part is done—I’ve made the leap, written the novel, and secured a publishing deal—and I’m about to have my debut published in the US. I think, though, working in the industry means you’re one step ahead, so I am already thinking about what next, trying to plan a year or two down the line, because of how rocky I know the publishing landscape to be. Specifically on the publicity front, I think having ‘insider’ knowledge definitely helps me. I know the language that is used and what it means—something that can be hard for debut authors—and I know how tricky it is to secure coverage, so I like to think my expectations are managed!

Really, in the end, it’s probably a balance—it’s not really a case of the good outweighing the bad, or vice versa. I sometimes wish I didn’t know as much as I did—because it makes me incredibly anxious at times—but ultimately I consider myself very lucky. I have been fortunate enough to work with some incredible authors, who work very hard and are brilliant at what they do. I am very lucky to have been able to write two books under contract which I’ve loved writing. And probably being an author now has made me a better publicist—because I have a lot more sympathy for how tough it is on the other side! What’s great is how the two careers feed into one another—one way or another, I am constantly using the creative side of my brain to come up with ideas around books, and I am constantly surrounded by literature. What’s not to love about that?

The post Writing a Novel as a Book Publicist appeared first on Writer's Digest.

After all, without media, no one would know about all the expertise you have to share. Media connects you with the people whom you can have the biggest impact on.

Media for authors can include blog posts, videos on your social media accounts, webinars, interviews on TV, radio, and podcasts, articles in magazines or websites … it really varies! The types of media you seek out will vary depending on who you are as an author. And it’s crucial to know your audience and go where they are consuming media.

For almost everyone, broadcast media (i.e., TV) is one of the most visible and sought-after forms of media.

I’m an author myself—I’ve published two books, Listful Living and Listful Thinking—and one of the things that motivates me is the knowledge that my work can have a positive impact on other people’s lives. And as a former TV producer for nearly 20 years, I know that producers and journalists have the same motivation.

The media wants to find authors and experts whose work will make a difference in the lives of people watching, listening, or reading.

For you, for the media, and for your audience, it’s so important for you to share your work with the people who need to hear what you have to say. But how?

I’ve developed an approach to securing broadcast media appearances that I used myself when I first became an author almost a decade ago.

Here are my strategies for creating content, pitching media, and building relationships with producers in broadcast media.

1. First, be your own producer.

I want you to think about how you’ve positioned yourself publicly as an expert—on your own, without any pitching involved.

For instance, back in 2011, I started a blog, ListProducer.com, that focused on list-making and productivity tips. At the time I was still working as a senior health producer and my blog was just a side project. Once I was consistently producing content, I started to pitch media as an expert. This was way before I published my first book, Listful Thinking. That way I could point to my blog while pitching and say, “Hey, look at all this content I’ve created about list-making and productivity.” It backed up my expertise. Plus it was helpful when I was looking for an agent and publisher.

I wasn’t saving all the good stuff for the media, which authors often do. They hoard their best content thinking that maybe one day someone will ask them to talk about it on TV or the radio. Nope! You need to get it out there now.

Are you producing your own content? If not, that’s your first move. You need to create content about your areas of expertise so that producers get a sense of what you know and what you could share with their audience.

If you’re just getting started with making your own content, I have lots of resources on creating video and developing an editorial calendar. If you’re not sure what kind of media to create, look around and see what authors who have similar areas of expertise are doing.

If many people in your field are successfully engaging their audience on a certain platform, that might be where your people are too. But also remember that you might want to give a different type of media a try so that you can be one of the first voices in that format. That can give you a leg up. Plus, be true to yourself. I always tell my media-training clients that if they procrastinate writing blog posts and would rather do a podcast or a livestream show, they should do that instead.

2. Tell the media who you are.

You are an expert! (Yes! You are! Novelists included too. After all, you know the discipline of writing, how to develop characters and so much more. You can share all this knowledge.)

So people should already know about who you are and what you’re doing, right? In a perfect world that’s how it would work. But the media doesn’t often just find the expert they need. That expert seeks out the media. They tell producers and journalists who they are, what they know, and why it matters. That’s what gets the ball rolling. (My free guide for authors who want to be ready for any interview is available here!)

It’s important to tell the media that you’re here, you’re available, and you want to do media. You need to be strategic in how you approach the media and how you frame your message. And that’s where the elements of a perfect media pitch work their magic …

3. Follow the formula.

These are the three elements of the perfect pitch: The hook, the twist, and the takeaway.

The hook needs to answer the question: Why now?

In other words, why is this story idea interesting and relevant right now? For instance, I appeared on PIX11 in New York City in December to talk about productivity gifts. The timing with the holidays made this pitch relevant.

The twist needs to answer the question: How is this different?

When I was a producer, I always appreciated a pitch that wasn’t the same narrative over and over.

For example, author and stress expert Heidi Hanna pitched me about stress and how it can actually be good for you. That was something I had never heard before and I knew it would grab my audience’s attention too. I booked her because of her counterintuitive way of thinking about the topic. I also ended up interviewing her for both of my books.

Also, that one pitch started a years-long friendship and more projects together. I actually became a LinkedIn Learning instructor, teaching about lists because Heidi introduced me to the team there. I’ll always be grateful. You never know where a pitch will take you or who you might connect with.

The takeaway needs to answer the question: What does the audience leave with?

What action do you want the audience to take after they watch your segment? Your viewers or listeners should leave with clear action steps—and you need to provide those.

Your takeaway should convince the producer that what you have to say will have an actionable impact on their audience. Remember, what you’re talking about could literally change someone’s life. I have a video here to walk you through this concept.

[Read more from Paula Rizzo at Writer’s Digest: 5 Ways to Get and Keep Media Attention After Your Book Launch.]

4. Follow up on your media pitch.

This is almost more important than the pitch itself. Remember that producers, editors, and other media professionals get thousands of emails every single day. Everyone is vying for attention, and sometimes emails are missed.

Following up is basically re-pitching as they may not have seen your first message. You can reply right back to your first email. But do not write, “What did you think of the below?” (Insider Tip: That will annoy producers because it forces them to do more work!)

When I was a producer, I always appreciated the people who sent me an email with a quick re-pitch.

Remember, you want to make the producer’s life easier. They’re not going to scroll to find your original message. You’re competing with thousands of emails! So be short and to the point. And then you can write that there are more details below. But actually do the pitching!

And if you don’t get a response, don’t get too down on yourself. It just might not be the right time. It’s great to be in a producer’s inbox because you never know when they might need someone just like you.

If your pitch is especially timely, you can always write about the topic yourself or make a video to share with your followers. You never know if someone in the media will stumble over it in the future. That’s happened to me time and time again! Media begets media, even when it’s your own.

And if your pitch is accepted, congratulations! That means it’s time to prep. (I have an entire course called Media-Ready Author to get authors ready for their media spotlight.)

I have lots of resources, including 10 questions every author needs to answer to get you ready. Want to be a go-to media expert? I’ve got you covered here with my media checklist.

Remember, the world is waiting to hear what you have to say—so make this the year you get out there and share your knowledge. 

Click to continue.

The post How to Pitch Your Book to Broadcast Media appeared first on Writer's Digest.

(When Is My Novel Ready to Read?)

When I signed my contract for my memoir with University of Nebraska Press, my first reaction was joy. My second reaction was queasiness. I knew I had one shot to get this book in front of an audience, and it would be my job to market and publicize it.

At first, it was overwhelming and intimidating, but as I mapped out each step, I found it was absolutely doable, and surprisingly, really fun.

We’ve covered many of the tips and strategies I used to market Knocked Down: A High-Risk Memoir in previous articles, but here, I’ll be pulling them together to show you how to create a simple and successful marketing plan, all while building your platform and spreading the exciting news about your forthcoming book.

1. Write a stellar pitch letter. Are you hoping to garner press in a variety of publications for your forthcoming book? Consider writing a pitch letter that grabs an editor’s attention and makes them want to find out more. Whether you’re asking for an interview, review, or trying to place an excerpt, you have one chance to make your book stand out.
2. Use social media strategically. Unsure how to harness the power of social media to reach not only new readers, but editors and other influencers? Consider choosing a social media platform you enjoy to make a genuine connection that results in networking opportunities. This will help you feel productive instead of draining your time and energy.
3. Be a good literary citizen. Would you like to connect with and support other writers who will champion your work when your book launches? Consider becoming a good literary citizen by promoting other people’s work when an opportunity arises. Ask yourself what you can do to support other writers as their books launch into the world. Chances are, when it’s your turn, they will return the favor.
4. Write companion pieces. Are you interested in writing about your book for a variety of outlets, but not sure where to start? Consider writing companion pieces by finding different angles and breaking down the various themes and threads in your book. This will allow you to diversify your writing by focusing on op-eds, essays, and reported pieces. Think about not only readers already interested in your topic but unlikely audiences for your book as well.
5. Prep for radio and podcast appearances. Thinking about promoting your book in front of a live audience but need some guidance on what to say and how to say it? Consider preparing for your guest appearance by having a list of talking points. Explore interesting and memorable takeaways you can come up with to leave your audience wanting more.
6. Don’t go it alone. Want to join other writers on the same publishing path as you so you can share ideas? Consider collaborating with other authors ahead of your launch to help navigate the murky waters of getting your book out into the world. Ask yourself what other writers are writing about and think about how you can connect with them to make a splash.
7. Grow your sales post launch. Are you interested in setting up successful book events and author appearances? Consider how you can stand out and draw a crowd, create buzz, and entice readers to pick up and purchase your book. Remember that you are not only selling your book, you’re selling your brand.

Unlike the writing process, marketing often takes a writer out of their comfort zone. Mastering the skills required to build your platform and get the word out about your book will help you grow your audience.

Each time someone says they’ve read an interview you’ve done, heard you on the radio, or attended one of your events, you can consider that a win! Remember, if you are successful at marketing your current book, you will be well on your way to writing your next one! 

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1. E-mail your contacts in advance of your book’s publication date to let them know what day they can expect to purchase, or that they can pre-order (give them the online link for doing so in this message).
2. Design fun swag—posters, t-shirts, stickers, etc., for fan giveaways online and at events. You’d be surprised how much readers love getting these little freebies!
3. Pick social media platforms you would enjoy working with (you may need to play around some to get a knack for them all) and figure out which you enjoy the most. Focus on social media time on using that platform and putting out content that includes a good blend of personal posts, book/literary posts in general, and the smallest amount will actually be posts about your own book!
4. Write at least one or two blog posts a week and be sure your book title is listed in either the post or your signature at the bottom. If you don’t have a website or blog currently, set up a free blog site where you can actively be writing weekly.
5. Network at events. Connect with fellow authors for cross-promotion on social media and possible future joint-panel events. Ask them what works for them and see if any of their tactics are new to you (and then use them).
6. Attend other literary events and author signings in your area or when traveling to show support for local venues and fellow authors. You never know where a new connection could lead.

Every author and book are unique and require special attention to give them the best shot at succeeding in the marketplace. Hopefully these tips can help you formulate your strategy for capturing the reading public’s attention!

This is a guest post by 

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I was 19 years old the first time I stormed a stage with a poem in my hand—stormed being the keyword. I had studied writing in high school, and was majoring in it at NYU, so I had had experience reading my work in front of my classmates, at department readings, and at collegiate open mikes. But in July 1998, I was brought to my first poetry slam—a raucous, judged poetry competition, where poets bring their performance A-game to win over the five randomly selected judges from audience. I was in awe from the first poet—as engaging and accessible as he was electrifying—and the very next week, threw my name in the hat. I’ve been storming stages ever since.

In the two decades since that first fateful night, I have made my living as writer, and have performed work—both poetry and nonfiction—in arts venues, universities, and festivals around the country, and around the globe. I’ve learned that knowing how to present your writing well on stage only helps people get to embrace you and your writing on page. And so here are my top ten tips on how to bring the performance to the next level.

Prepare yourself well before public readings.

You can give yourself an edge before you ever set foot on the stage by thinking ahead and preparing well. Wear clothing that makes you feel like the best version of yourself—clean, comfortable, you. As you will likely be standing for the length of your reading, wear shoes that won’t make your feet throb ten minutes in. And lastly, be sure to check with the venue to see what they can provide you (bottle of water, a stool, good lighting, etc…) to make the event run as smoothly as possible, and what they might need from you (a short bio with which to introduce you, etc…) so you don’t have any additional responsibilities the day of!

Prepare your content well in advance too.

Before any event, I make it a habit to plainly ask the organizer of my events what the ideal reading from me for them would be. Sometimes their response is a length of time, sometimes it is an understanding that their particular audience may skew younger, or older, more liberal or more conservative, and to keep that in mind. Sometimes they can just give you tips about what works and what doesn’t. In any case, they will be grateful (and honesty, in the end, you will be too!) that you are both on the same page when you hit the stage, and will be doing an event that best suits that community in which you are performing. Once you understand what works for them, I would suggest identifying a few selections to read, so you can make your choice once you are in the space. Be sure to place bookmarks or post-it notes in your book in advance so you don’t have to waste any time on stage flipping around your book. If the type in your book is too small to comfortably read from on stage, or you fear the lighting will be too dim, don’t hesitate to bring typed pages with a font large enough to easily read. And lastly, be sure to time your selection so that it comfortably comes under the time limit set for your reading—that way you’ll have wiggle room for crowd reaction or banter.

Take the stage with the goal of making the audience feel at ease.

It is easy to forget this part when prepping for your reading, but making a good first impression goes a long way when it comes to engaging with your audience. When you are introduced, walk warmly up to the person who introduced you and shake their hand. Smiling into the audience, thank the venue for inviting you to read and thank the audience for spending their night with you. Feel free to make light banter—talk about the crazy weather, or share a local custom or slang that you were just made aware of, etc…– so that the audience gets a sense of you are as a person before you dive into your writing… and you get a sense of who they are too! Try to make eye contact with as many people as you can in your audience, and make sure that they know it is okay to laugh, smile and react to what you are about to present.

When you start a public reading, meet the energy of the room and then begin raising it.

Having checked with your audience, you should hopefully get a sense of where they are. If they are quiet, respectful audience, it’s okay to meet them with a quieter energy and pacing that says “I see where you are at, but hopefully we can have some fun.” If their energy is already sky-high, ride that wave too. Allow them time and space to have their reactions, and to laugh or gasp as long as they want. Regardless of the audience size, or energy, you want them to think that this is the ideal audience for that night. Make a small audience feel like they have been invited to an exclusive event; make a large audience feel like they are all cherished guests at your party.

Have personal experiences you want to share? WD University’s Writing the Personal Essay 101: Fundamentals will teach you how to avoid the dreaded responses of “so what?” and “I guess you had to be there” by utilizing sensory details, learn to trust your writing intuitions, and develop a skilled internal editor to help with revision. Register today!

When reading, understand that clarity is more important that theatrics.

One of the largest misunderstandings of what makes for a good performance of your writing is that one needs to be an actor—performing out emotion, or accents. In reality, the most important thing is that the audience understands what you are saying! So first things first: be sure to read at volume that is comfortable for the audience, taking into account the sound system (if there is one) at the venue you are at. Don’t mumble; enunciate! Read at a solid pace. They say a good pace to jog is a pace where you can still have a conversation. Well, a good pace for a reader is one where you can comfortably look up at your audience every few lines without losing your place or losing your rhythm. Once you have mastered reading clearly, loudly, and at a good pace, if you feel like adding some additional theatrics, it’s your choice. But if that’s not your style, please know: it isn’t necessary!

Check in with your audience often.

When I first began listening to recordings of readings of famed writers, I was surprised how often the performance of the writing was different than the writing in the book. Not in large ways, but often small—the skipping of an overly gruesome passage, or the softening of vulgar words. Now I realize what these writers were doing: understanding the audience they were reading to, and tweaking accordingly. If you are surprised at the number of young children in your audience, you should absolutely feel free to soften curse words so their parents—who are likely enormous fans of your work—can stay for the duration of your event. Similarly, if you are sensing that the selection you are reading isn’t quite connecting with your audience, feel free to close that segment of your reading early, and move on to a selection that you feel will resonate more. The goal of the event is always to make the audience connect with you and your work, and so there is no shame in altering your game plan to fit your audience… as opposed to alienating a potential audience because you are too rigid.

Keep track of your time.

There is no better way to anger the organizers, or alienate potential readers of your work, than staying on stage past your welcome. Oddly, this happens the most when the reading is going great. They are really loving this! I’m going to keep going! is the reason writers often decide to push the envelope. But trust me, you would much rather have audience members walking away (with purchased book in hand) saying “Wow! I could listen to that author all night!” than have them walk away empty-handed (as they have had their “fill” of your writing) saying, “That reading would have been perfect if it ended fifteen minutes earlier…” Similarly, the world of literary organizers is as gossipy as a sewing circle, and you don’t want a bad reputation of going long to jeopardize future gigs. So bring a watch, set the timer on your phone, ask the organizer to give you a signal when you have five minutes left: whatever it takes to end at the perfect time.

Close out your reading with style.

Just as opening your reading well can help you more quickly engage with your audience, closing well can help them feel that you are approachable after the event. Once you have concluded your reading, be sure to take a pause, look into the audience, and thank them warmly for being there tonight. Stand for the applause as well, acknowledge it. And if there will not be a Q&A after your reading, let the audience know that you are happy to answer any questions and sign any books they have at the designated signing area. (And if there is a Q&A, have a question you can ask yourself already locked and loaded, so a shy audience member doesn’t have to fear being the first to ask).

Remember that your performance continues after the reading ends.

And by that I mean that interacting with the audience after a reading is its own kind of performance, with many of the same rules: thank them for coming out, engage with them honestly, meet them at their energy level, and speak to them clearly and at a good pace. Once you have made it through your signing line, remember to check in with the staff for your event to thank them, and ask if there is anything more you can do. You may be asked to sign any left over stock, or pose for a picture with the staff for their social media. Keep your good energy and engagement flowing until you leave the event space. And be sure to thank everyone in person who worked for your event. Bonus points for sending a physical thank you card afterwards!

Reflect on what you learned to up your game for future public readings.

The best performers are always evolving. Reflect on what worked (an opening joke, a new approach to a challenging section to read, etc…) and what didn’t (trim a reading selection so it ends where the audience had expected it to end, maybe craft an introduction to a section so you don’t have to stop mid-reading to explain something, etc…). Bring that information to your next reading, so that each reading you give is your best one yet.

As I often tell folks embarking on their first book tour: a good reading isn’t about adding a bunch of performance bells and whistles; it’s about stepping out of the way of your own bad habits so people can actually enjoy your writing. The hard work you put into your work on the page will be clearly seen, and heard, on the stage, as long as you let it—by knowing your audience, meeting them where they are, and speaking clearly, warmly and at a good pace. If you can master that, you’ll have them hooked.

Can’t wait to see you on the road, fellow writers! I’ll be in the front row, cheering you on!

Write better. Get published. Build your network.

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I wrote previously about how market changes have affected the day-to-day activities of writers, and the expectations placed on them to support their books with publicity and marketing activities. Most authors now must put in the work whether through their own grassroots campaigns, or through partnership with a literary publicist, if they hope to receive media and reader attention for their books (this PW article was an interesting look at one author’s realization about how necessary this process is these days). If you want to really get the best bang for your buck when working with a publicist, you can do a lot to pave the way for a smooth partnership that optimizes your media exposure and ultimately your book sales.

Depending on whether you are independently or traditionally published, the preparation process for your book’s publicity may start in a slightly different place.

If you are traditionally published, be sure to let your publisher know you plan on hiring outside support. Open up a dialogue early on about what they plan to do promotionally and fill in your outside publicity team on these plans. That way your publicist can create a plan that supports—rather than duplicates—the activities of your in-house publicist, expanding your total media exposure. Before your publicity campaign begins, coordinate an introduction between your outside publicist and your in-house publicist so your whole team works effectively for your book. Your timeline for this may be up to a year in advance of your publication date, and the outside publicist may start between 2 to 6 months before publication, depending on what types of media they will be working with on your behalf.

If you are independently published, you’ll want to consider what your publicity goals are before you set your publication date. If your preferred outside publicist, for instance, can’t start until a month later than you would have hoped, consider putting off your book’s release date by a month to work flexibly with this person. When you are indie, you have the power to make decisions like this that support your total brand and goals.

You should also be considering the timing of when you publish in regards to your personal schedule—plan your campaign and launch for a time when you know you won’t need to travel for a day job or vacation so you will be available to your publicist for the many responsibilities you will have as a partner in your campaign. You can also consider holidays and media hooks; if your book is about parenting, perhaps releasing it around Father’s Day or Mother’s Day would be a good idea that will help you and your publicist more easily court the media.

Once you have planned out these big-picture timing issues about your book publicity campaign, it is time to start in on some actionable items.

Before your campaign begins, you should:

• Write an elevator pitch. You need to be able to succinctly describe your book to anyone that asks. Hopefully this is something you already have and its how you got published and/or hired your outside publicist to begin with!
• Set up your social media accounts. You don’t need one for every platform, but typically we recommend Facebook, Twitter and Instagram are good starting places and having at least one account that is active before your publicity campaign starts is a good idea. If you have multiple accounts, use the same handle if possible for each place so you have cross-platform cohesion and better brand recognition from your followers. Even if you hate technology, it’s not really an optional part of book publicity these days—being on social media provides incredible boosts to your branding and even if it is uncomfortable for you, it’s typically worth tackling the learning curve. Your publicity team will guide you, and can even work with you to minimize your personal involvement on these platforms.
• Watch or read basic tutorials about these social media platforms and learn how to use them. Even if you pay someone to “ghost post” for you, some amount of engagement is required of you, and knowing how to use the technology at its most basic level is important.
• Get a Goodreads account and begin adding books to your reading list and interacting with other users. All books these days get listed on this wonderful website, and many publicity activities revolve around it. You’ll save yourself time later if you’re already on the site and familiar with it.
• Brainstorm the types of things you want to convey to the media. What is your message? Even if you wrote a fictional novel, you have a platform to convey—it may be about your passion for your subject, how you were inspired to write, or an experience that shaped you that lead you this far. This will help your publicist think through angles about why you may be interesting to the media.
• Compile a list of any past publications you have, preferably with links. Your publicist will ask you for past book titles as well as any websites or publications you have been featured by previously to help him or her start researching for appropriate media to reach out to on your behalf.
• Compile a list of influential people you are connected to and may be able to ask favors of that benefit your campaign. People that will read and review the book online, send copies on your behalf to their good friend that writes for your local newspaper, and will help invite people to your book launch party. Think about your social network…you are about to tap into it! Don’t be afraid to politely ask for favors, and let your publicist guide you toward respectful protocols for these activities.

Publicity campaigns are a lot of work for writers and their PR teams, but going into your campaign prepared will help both you and your publicist (and publisher, if applicable) to smoothly navigate through the creation or expansion of your book brand.

If you are published already, what are tips you’d give to new writers just embarking on this phase of their book’s life cycle?

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