Kristine Kathryn Rusch

The Business Rusch: The Old Ways (Discoverability Part 4)

Written By: Kristine Kathryn Rusch - Dec• 11•13

Business Rusch logo webHere’s how writers decide to market their books:

They read blogs and articles, which tell them the best thing to do. Or, they mimic what they’ve seen other authors do. Or, they try to act like big traditional publishers, by funding their own book tours and doing signings.

I’d say that’s no way to run a business, but honestly, that’s how traditional publishers have run their businesses for a long time.

A lot of traditional publishing is based on “we always do it that way.” That was one reason why, in 1993, a relatively unknown Edgar-award winning author spent hundreds of thousands of dollars of his own money producing a television ad for his book. He did so because he had the money, and his publisher refused to do the kind of support the author believed would make the book sell.

This author wasn’t a guy who simply believed in himself: he was one of the top ad executives in the nation. And he had worked his way into that position from the ground up. In other words: he knew his stuff.

That man? Not unknown any longer, and certainly not known only as an Edgar-winner. You know him as one of the bestselling authors in the world, James Patterson.

Am I recommending that you buy your own TV ads? No. I’m telling you to start thinking outside the box.  Patterson did, back in the days before indie publishing was easy or cheap. He started using Little, Brown, his traditional publishing company, as if it were his own personal publishing company. Now, Michael Pietsch, the publisher of Little, Brown, says, “Jim is at the very least co-publisher of his own books.”

And it all started with that book, the one he advertised on his own.

Here’s the story from The New York Times Magazine in 2010:

Publishing is an inherently conservative business. Patterson repeatedly challenged industry convention, sometimes over the objections of his own publisher. When Little, Brown was preparing to release “Along Came a Spider,” Patterson tried to persuade his publisher that the best way to get the book onto best-seller lists was to advertise aggressively on television. Little, Brown initially balked. Bookstores typically base their stocking decisions on the sales of an author’s previous books, and Patterson’s had not done particularly well….What’s more, large-scale TV advertising was rare in publishing, not only because of the prohibitive cost but also for cultural reasons. The thinking was that selling a book as if it were a lawn-care product could very well backfire by turning off potential readers.

Patterson wrote, produced and paid for a commercial himself. It opened with a spider dropping down the screen and closed with a voice-over: “You can stop waiting for the next ‘Silence of the Lambs.’ ” Once Little, Brown saw the ad, it agreed to share the cost of rolling it out over the course of several weeks in three particularly strong thriller markets — New York, Chicago and Washington. “Along Came a Spider” made its debut at No. 9 on the New York Times hardcover best-seller list, ensuring it favorable placement near the entrance of bookstores, probably the single biggest driver of book sales. It rose to No. 2 in paperback and remains Patterson’s most successful book, with more than five million copies in print.

Traditional publishing still doesn’t allow much TV advertising on its books, preferring to use its ad money on things like magazine pages and book supplements (if anyone can find them). Why? Because that’s how it was always done.

I’m currently reading Hothouse by Boris Kachka, a history of Farrar Straus Giroux, and in passing on page 211, he mentions that founder Roger Straus’s son, young Rog as he was called, worked with the Association of American Publishers in the 1970s to run some general book ads on television. Even though the ads showed positive results, the publishers were not interested in following up.

Young Rog wanted to grow the readership base, but the powers that be in traditional publishing held him back.

Traditional publishing often balks at bringing in new readers, claiming it doesn’t want readers of that sort or that readers don’t buy books that way. All the while, the publishers refuse to commission studies on how readers actually buy books, leaving that to government agencies or booksellers, most of whom don’t have the money to commission studies either.

Remember now, traditional publishing’s business model is based on velocity, and no long-term thinking at all. All of its marketing is geared toward that fierce urgency of now which I mentioned last week, because to traditional publishers, books spoil. They leave the shelf within a few weeks or a few months and then become (smelly) backlist titles that are taking up warehouse space. It’s tough for traditional publishers to realize that e-books never spoil; it’s hard for publishers to change their thinking.

Just like it’s hard for writers. So many have dreamed of the “star” writer treatment.

What is that, exactly? A book tour, lots of interviews on local radio and with local newspapers (rarely local television, partly because local newscasts don’t care about writers and partly because writers usually make for bad television). Long lines at book signings, adoring fans, and lots of public speaking engagements. A writer hand-selling her books at flagship stores because so many people have come to see her.

Ads in major markets. Books in every single brick-and-mortar store in the nation. Pallets of hardcovers littering the floor of airports and commuter train hubs all over the nation. Billboard ads of the book on the back of buses and on the escalators leading out of the subway (or, even more likely, the Underground). Reviews everywhere.

Everyone who reads, everyone who is worthwhile, talking about that one book. Your  book.

I love that dream. I’ve achieved that dream on some of my titles overseas. It’s been wonderful and discouraging at the same time.

You’ve all seen writers complain that such things are a burden or aren’t what we expected. And generally, writers who haven’t experienced it write off those complaints.

I’m going to ignore the complaints, because we’re talking about discoverability here. All we need to focus on is this: Should we as writers, both indie and traditional, want the same things that every writer has had since the dawn of the bestselling novel in the late 1960s? And if so, why? If not, why not?

A few weeks ago, I looked at ad buys  and how you could tell if your novel was going to get one, if you were traditionally published.  Let’s now move to TV. It worked for Patterson—who spent his career as an ad executive, who wrote and produced television advertising for other companies.

In other words, he knew what he was doing, and it sold his book. The key here, though, is that he knew what he was doing.

There’s no way to stress that enough. He knew what worked in the advertising market of 1993. He didn’t take his publisher’s suggestions. You know why? Because then, as now, traditional publishers did none of the sensible things that other big businesses do.

Traditional publishers don’t measure the results of their ad buys. They don’t look at the effectiveness of a sales campaign.

For God’s sake, they don’t vary the type of ad campaign to reflect an individual product. Instead, they only vary their campaigns by a vague sense of whether or not a book will sell. Then they slot that book into a pre-established set of behaviors, which “worked for other books of the same type.”

Um…no self-respecting ad agency would ever make a Nike shoe campaign look exactly like an Adidas shoe campaign, even though they’re both advertising high-end athletic shoes. Of course, Nike and Adidas have different ad agencies. But assume they had the same agency. That agency would work very hard to make Nike’s shoes look different from Adidas’s shoes.

But one publisher of thriller bestsellers treats those novels exactly like the competition treats its thriller bestsellers. Apparently, Clive Cussler writes the exact same book as Lee Child who writes the exact same book as Dan Brown. So that’s why they get the exact same advertising treatment—even though all three of them have different publishers.

You know as well as I do those books are different from each other. You also know that with some writers, like John Grisham or Stephen King or Dean Koontz, you can’t predict from one novel to the next what type of book they’ll write.

In other words, even within the author brand, the books are wildly different and should get different marketing.

But they don’t. Because traditional publishers believe that marketing is something that is beneath them. When they do reach out and try to market something differently, they don’t hire an ad agency to do it. They don’t bring in outside experts. They don’t market test. They guess.

Seriously.

And when that something different fails—and generally it will—it becomes part of publishing lore. Oh, they tried that on a bestselling novel in 2002 and it failed miserably. Therefore, we know that doesn’t work.

Have you pulled your hair out yet? Because I do every time I think about this.

You shouldn’t treat  your books the way that traditional publishers treats theirs. Because they run the marketing side of their business poorly doesn’t mean you should emulate them. Just because you’ve seen someone else do something doesn’t mean you should do it too.

Okay: I’m channeling every parent on the planet right now. But channeling that parental voice aside, let’s take a look at traditional book marketing and see if it’s something you should do.

First, let’s examine the thing every new writer wants and every bestselling writer wishes they never heard of:

The Book Tour

The book tour really is geared to “our sort of people.” If you remember that traditional publishing came out of the East Coast elite in this country, that Ivy-League-good-money tradition of intellectual snobbery, a lot of traditional publishing’s long-held attitudes make more sense:

Let’s have our author go to bookstores, universities, and the occasional meeting hall, where like-minded people can discuss ideas without worrying about others getting in the way.

Some of this goes all the way back to the 19th century, when Charles Dickens did several speaking tours of American and made a small fortune. His books sold thousands of copies when he did that, but Dickens never saw a profit from the book sales. Why? Because at that point, the United States was the biggest thief of copyright in the world. Dickens’ American tour made him money in appearance fees, but no money at all from book sales.

But authors started going on tours then, and their works sold after the appearances. The author tour became engrained in public life. Back in Dickens’ day, a visiting author was sometimes the only entertainment for miles. The visiting author is just one of many events now, and not one that lots of people go to.

Audiences went way down with the advent of movies, radio, and television. As the crowds diminished, the audience became purified. “Our Sort” showed up faithfully and bought books. Those books, published in the U.S., put money in a publisher’s hands. Publishers eventually realized that author appearances drove sales. The more sales that could be driven, the faster an author would rise on a bestseller list.

There is some belief among scholars that the last American tour Dickens did contributed to his early death. But his grueling tour was easier than the tours that traditional publishers put their writers on. Most writers spend a month on the road, getting up early to do radio interviews, then doing stock signings at stores that aren’t hosting an event, a morning signing, lunch on the fly usually before a local TV interview, an afternoon signing or more stock signings or an interview with some print media, then an evening event—a signing, a speech, a reading, something.

After that, the author either gets on a plane, and heads to the next venue or does so early the next morning. At the next venue, she does it all over again. Repeat for two weeks or until complete exhaustion sets in.

Such tours cost a small fortune to mount. The point of them, besides running the author ragged, is to increase a book’s velocity.

One book signing in one city won’t do it. A dozen book signings in two weeks in a dozen cities won’t do it either. But combine two dozen signings along with several speeches, twenty to thirty media appearances (mostly radio, some local television), and the book will soon hit lists. Why? Because it’s selling five copies at one signing, ten at another. A handful of people pick up the book after hearing an interview.

More than that, though, the bookstores, which are also footing part of this bill by ordering extra copies, putting on more staff, and making room for the author, are also taking out ads in local papers and circulars, maybe some radio spots of their own, and of course, sending the information to their special customers in their newsletters.

Those ads also bring in a few sales. Multiply those increased sales by 12 days, and it might equal an extra thousand to ten thousand sales in a short period of time—enough to goose a book onto a list, which then provides even more advertising.

And by a list, I don’t mean an Amazon bestseller list that’s drilled down to the tiniest sub-genre. (Mystery/mystery novels/detectives/amateur detective/cozy/series/dogs) I mean one of the big lists, like the New York Times or USA Today or Publisher’s Weekly. The lists that “Our Sort” pay attention to.

Can you do this on your own? I suppose you can try. It will take tens of thousands of dollars and somehow you’ll have to convince booksellers, media bookers, and local venues to give you some of their time and space. Chances are it won’t happen. It doesn’t always happen when a publicist from one of the Big Five publishing companies calls: if the bookseller, talk show host, theater owner doesn’t want (or hasn’t heard of) an author, they’re not going to give that author expensive time and space in their venue just because someone asked. Certainly not because the author asked.

Yes, your local bookseller(s) may hold a charity signing for you. Yes, you might even have a mutually beneficial local event. But it won’t make any real difference to your book sales, and it certainly won’t be worth your time.

Long-term booksellers know that. They know that only certain authors draw readers to a store. These booksellers are also respectful of the author’s time, realizing that well-known authors generally don’t have an afternoon to give to sitting in a bookstore. And I do mean “give.” Writers don’t get paid for those appearances, and the sales don’t make up for the lost hours of work.

Most traditionally published writers get paid a percentage of each book sold, earning as little as $2 per hardcover sale, and sometimes as little as 50 cents on each paperback sale. That money might not reach an author’s pocket for six months or more (if ever). So, sitting in a bookstore for two hours and selling even 20 hardcovers is only worth $40 to the author—six months from now. And if the writer had to drive to the signing, and had to get a hotel room (on her dime) and had to buy her own meals, well, she lost money.

Big name writers do get appearance fees for speaking at libraries and auditoriums. And many big name authors (most, in fact) donate those speaking fees (minus expenses) to charity.

But it’s still something they charge for so that they’re not running around, giving free speeches, in the hopes of boosting their book sales—like so many beginning authors do.

The book tour is geared toward velocity, not toward building an established readership. How many times have you, gentle reader, bought a book at a signing because the author looked so uncomfortable or because no one had bought a book yet and the bookseller asked you to break the ice? Have you read those books?

When should a writer go on a book tour? When it’s being paid for by someone else (preferably your traditional publisher) and it has a realistic chance of boosting book sale velocity to a bestseller list. So many of professional writers (me included) have gone on book tours only to discover the idiot Big Five publisher did not distribute the books to the bookstores. So why were the writers and booksellers wasting our time? It certainly doesn’t endear those publishers to anyone, and it shows just how haphazard traditional book marketing really is.

Book Signings

Are worthwhile sometimes.  But not for the reasons you think. They’re not there for discoverability. I think I can probably count on one hand the number of people who bought a book of mine at a book signing because the book looked interesting. I’m sure there are many more people who bought a book because they felt sorry for me sitting there all by myself or because someone else made them buy the book.

I have watched at countless signings as writers guilt potential readers into buying a book. Unless the reader has a small budget and reads everything he buys, I can guarantee that the guilt-book never gets read, and will not create new fans.

This is why traditional publishers cringe when a writer goes on her own book-signing binge. I personally know several writers who spent thousands of dollars going on those binges, and sold a lot of guilt-books. The problem is that those sales do not repeat when the next book comes out, so the sales figures for writers who spend that money go down.

In indie publishing, it’s only a ding to the ego. In traditional publishing, messing up your numbers with an unsanctioned book signing tour can make the difference between selling your next novel and not selling your next novel to a publisher. Most of the writers I know who did the guilt-tour did not sell their next novel—at least not under the same name.

So when are signings worth it? They’re worthwhile if you’re already giving a speech or attending a convention. Readers who also happen to be your fans want their books signed. They often won’t buy the new books at the event. Sometimes just the cost of attending eats up the book budget. But they get to meet you and have their books personalized.

A lot of book dealers will want a signature in their books. I’ve seen authors refuse to do that, forgetting that book dealers can be  your best friend. Even if the dealer never reads a word of your fiction, the dealer can hand-sell your books and often does just by mentioning that you’re a nice person.

If you’re going to do a signing, however, that will increase your reader base, however, only do mass signings. I attended two this past year: one at Bob’s Beach Books in Lincoln City, Oregon, which goes all-out at the end of the summer, with thirty some writers of all genres in attendance, and another at Powell’s Cedar Hill Crossing in Beaverton, Oregon. I sold more copies of my books at Powell’s because the event is targeted: it’s genre-specific, and none of the names are small. Everyone at the Powell’s signing either had an established fan base or was already on the bestseller list or both.

The customers who came to that signing had money to spend, and boy, did they. They bought books they hadn’t heard of, books they had always wanted, and books someone else recommended.

The amount of money I earned on book sales at Powell’s probably wasn’t worth the gas we spent to get to the event, but I wasn’t doing it for the money. I wasn’t even doing it to increase the reader base. Really, it was old home week. Of the thirty-plus attendees, twenty-five or so were friends. We didn’t get a lot of time to visit, but we could at least say hello.

So, if you do a signing, don’t do it to be discovered. Do it at a venue where your fans can get their books signed. They’re the ones who support you, after all. They’re the ones who spread news of your work to their friends. They’re the ones in charge of word of mouth.

Sign their books graciously. Your readers owe you nothing. They have given up their money and time to support your work. You can smile at them and sign the book. If that’s too much to ask of you, then don’t go out in public. Period.

Finally, a side note on signing. I sign books by mail, if the sender includes packaging and return postage. I don’t travel as much as I used to due to my health, so I’m happy to spend some time putting my signature on a page. Again, the readers support me. It takes so little of my time to give back to them.

Consider it, the next time someone asks you to sign a book.

And…whew. I have more to cover here than I expected. I’m going to split this piece in half, because there are several more old ways to cover, from media interviews to stock signings (mentioned briefly above) to blog tours to reviews to…well, you’ll see next week.

I’m always startled at the way some topics just grow as I write them. I think I can cover something in a few thousand words, then realize how much I need to explain for people less familiar with the business and/or the old ways of doing business than I am. So I’m in one of those long series now.

I’ve been getting a lot of good behind-the-scenes feedback from everyone, and some great comments. Go look at the comments section for previous posts in this series. Excellent stuff there. I haven’t had time to answer, since somehow a million deadlines have piled up these past few weeks, but I hope to at some point.

And thank you all for supporting the blog in any way you can. I greatly appreciate the e-mails, the links, the shares, and the donations. They all mean a lot.

So…if you learned something or like the blog, please leave a tip on the way out.

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“The Business Rusch: The Old Ways (Discoverability Part 4)” copyright © 2013 by Kristine Kathryn Rusch.

 

 

SPECIAL NOTICE: I’d like to put out a call to those of you who are traditionally published. I need to update my Deal Breakers book for 2014. I have quite a bit of material, but I would like to see what I’ve missed.

So if you received a traditional publishing contract from a major publishing house and/or an agency agreement from an agent, please black out all the personal information and send it to me. I’m particularly interested in the contract clauses you negotiated away and/or that you walked away from.

I also would like to see the clauses you’re proud of getting. The ones where you feel you triumphed in your negotiation.

I need the entire contract, because a contract is a living document, and what it says on page 13 has an impact on what it says on page 2. Please black out your name, the name of your agent, the advances, etc., and send me the file.

I promise, I will not use your name or any personal information, except that I might say something like “a first-time author” or “an author who has published novels for fifteen years” or “a bestselling author.” I won’t even use a personal pronoun to give your secret away. And I’ll be the only one who looks at this.

If you want to see how I do this, look at the Addendums post from earlier this year. (And yes, that will be in Deal Breakers 2014.)

Thank you! I appreciate all of the help.

 




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29 Comments

  1. Vera Soroka says:

    I have no desire to go on any of those book tours. I’m not much of a traveler and I don’t like crowds. I’ve seen many authors organize books tours. These are mostly YA authors I’ve seen do this. Their target is always the Barnes & Noble stores. They seem to go along with it. I don’t know how successful they are but they pay for it.
    Two authors Melissa Marr and Kelly Armstrong have done this. They sold a book to the publisher to pay for it. I don’t think they made a lot of money but they thought it was worth it. Not my cup of tea.
    Maybe doing a signing in your own city is okay but traveling around the country or over seas? Not for me.
    I consider myself a internet/online writer. I prefer to write what I want and build my audience off the internet. It’s just more comfortable for me.
    Blog tours are not my thing either. I don’t follow authors that way. I would rather go to their website to find out about them.
    Anyway this was an interesting topic and look forward to next week.

  2. This whole series has been so helpful for me — thank you Kristine for taking the time to share your wisdom.

    I’ve heard stories from several new authors who have paid for their own epic book tours and attribute a lot of the success of their books to these efforts. The books in question are non-fiction, however, so maybe that is an important difference?

    I’m still working away on my own first novel, a bio-thriller with a veterinarian hero that I’m hoping will turn me into some strange hybrid of Crichton, Clancy, and James Herriot. I’ll be sure to come back to these posts again!

    • Usually, the nonfiction writers speak on the topic, and either business people or folks interested in the topic show up. It’s a different ballgame when you’re an “expert.” You get a targeted audience. If you’re doing speaking at the same time… Fiction writers, not so much.

  3. James F. Brown says:

    Wow. I’d love to get the “star treatment” from the publisher on a book tour. Yeah, first class airplane seats, limos from the airport to the 4-star hotel. A dedicated for-me-only handler. Eating at 4-star restaurants. Hefty per diem. Not to mention a mid or higher 6-figure advance. Sounds really super…

    Oh, wait. I’m self-pubbed. All those goodies would have to be paid for by ME. Uh, never mind. If I ever do a book tour, it’d be sardine-class, advance ticket plane seats, taxis (only if decent bus service were unavailable) or Rent A Wreck car to Motel 6, and Mickey D’s, et al, for eats, with an occasional splurge at Denny’s or Coco’s. Sob, sniffle, cry…

    • First class? Let me laugh now. Coach from traditional publishers. Unless you’re a really, really big name. Hotel’s nice and high end, but no per diem, because local publisher’s rep will pay for everything. And it ain’t much… So you got it, even with a traditional publisher.

  4. Mags says:

    People will ask me to sign a book, very tentatively, like I’m going to lash out at them for asking, but I usually say, “Honey, I’ll sign anything you want except a blank check!” It really is the least you can do for your readers.

    My funniest signing story: a local B&N was having a Jane Austen event around the time of the broadcasts of the films on Masterpiece a few years back. I (stupidly) agreed to participate, wearing a Regency-style gown. I had spoken briefly and another author was speaking, and the CRM came over and whispered to me, “This customer has to leave, but she wanted you to sign this book,” and gave me a large fancy Complete Jane Austen to sign (that is, not my own book). I started to sign it and then whispered to the CRM, “She knows I’m not Jane Austen, right?” Because sometimes you do have to ask. For the record, the CRM didn’t know.

    • Mags says:

      Just to clarify–agreeing to wear the gown was stupid, not participating. It was actually a rather fun event. But wearing the gown made me feel kind of stupid. I wouldn’t do it again.

  5. Mark Terry says:

    I’m reminded of something Janet Evanovitch said. Something along the lines of, “Typically publishers market to readers. I wanted to market my books to people who watch TV—there’s more of them.”

  6. Having worked in a book store, there is nothing worse than an author who doesn’t get people in to a signing. Our store in Vancouver used to do a huge children’s book fair in October. It was very targeted, we had our list, the mall helped with advertising and the schools got kids excited. And did I mention that it was in October when families might be starting to think about unique gifts for their younger members? We all did well, especially the authors with a number of books out.

    Contrast that with the summer we tried to do a summer time romance signing. We got five or six midlist romance authors who lived close enough to use to come in. We hardly sold anything. Fortunately, they all knew each other and had a great couple of hours socializing. I think, although our managers knew how hard it was to really get people in, they were surprised at how few people showed up. We did a lot of business stocking series romances by Harlequin and company and kept the organized so we had a lot of weekly and monthly shoppers who were a target audience. Still, they didn’t come in.

    Having seen that, I’d DREAD having to do a book signing unless I had a solid fan base that were all coming out to see me along with a lot of friends to hang out with me when the lulls came! And friendly book sellers who liked what I did… :).

  7. Sally says:

    Ra-di-o? What is this “ra-di-o” you speak of?

    Seriously, do These Kids Today listen to the radio? I only do in the car while running errands, and although I do listen to the stations “Our Sort” approve of (for music — don’t listen to NPR) and I’ve never heard a book ad. Maybe NPR or talk radio have book ads, but not music stations. Could you clarify?

    The TV ads do all look alike — and are geared to the guys who’d sell anyway (you listed them). And I do mean guys. Don’t recall seeing an ad for a book by a woman — maybe on the more “womanly” channels, but I don’t watch those either. Not network or big basic cable stations, anyway.

    (Aside: I remember Patterson’s first book ad b/c I’d never seen anything like it. “This guy has chutzpah” I thought.)

    Where I get most of my mass-media book recs is the talk shows. If I had a book, I’d be dreaming of getting an interview with Jon Stewart, who does read the books and has a lot of authors on. I think that’s the best interview an author could possibly get; he has real passion for books. National exposure, a sharp audience. Colbert also has a lot of authors, but you’re going to have to do heavy lifting being the straight man to his character. Craig Ferguson gets lower ratings, but he’s so sharp and an author himself that he’ll really talk about it, and he openly loves mystery, history, and Doctor Who — so not an anti-genre snob.

    Maybe you could get a few sales from morning shows, but probably only cookbooks or inspirational tales. They don’t understand SF and won’t try.

    I have more than once seen someone I’d never heard of before speak on a convention panel and then run right down to the dealer’s room and bought something of theirs. And then kept buying. I recommend that to authors; you’ll have fun at the con, meet new people, and sell a few books. You get to put your book up right there in front of you for the whole hour and plug it in your intro and closing. If you’re on a panel with famous best-sellers, ride those coattails and take advantage of that aura! Most of them don’t mind. Do those autograph sessions even if you think no one will show up. Folks do take pity and will come to chat and maybe buy. Or you’ll at least be at a table with a more experienced writer who could share some wisdom with you and you can take notes on what they did right and wrong in their interactions.

    (And the “everyone’s here for X and not me” happens to the best of them. Normally you need a taser and an hour in line to get George RR Martin’s autograph. But at a Worldcon, I walked right up to him and got it… because he was sitting next to Gene Wolfe, whose line was out the door.)

    • DS says:

      Ah, reader here, but I do buy books after hearing authors interviewed on public radio– and not just snooty arty books, but entertaining fiction and nonfiction. A brief punchy interview works, but Terry Gross could sell me on anything. She does a great interview. All of our local stations are owned by Clear Channel and aren’t worth turning the dial to listen to. I have a number of friends who feel the same way if I can go by the amount of time we spend discussing items we have heard on public radio.

  8. Lee McAulay says:

    Kris, I love this series, more so than usual – and the Business Rusch is a go-to every Thursday for me. Can’t wait for the next installment!
    A few points from the discussion really stand out:
    1. It seems like an obvious point to make, but the costs of a book tour, flowers, cars & hotels, of whatever standard, come out of your publisher’s pocket no matter whether you are self-published or mainstream. If that publisher is me, I can decide if I even _want_ flowers (no, actually). Two years ago I met a young man selling his novel in his local chain bookshop. Before, I’d have been envious, but I’d read Dean’s blog by then and just felt sorry for the poor chap.
    2. Book ads in the UK run in magazines and newspapers and posters on public transport. I don’t recall seeing a proper “buy my book” advert on TV – not even for Fifty Shades of Grey.
    3. Non-fiction books are usually sold by the author at the back of a presentation or a seminar where they have given a speech, and they always cost much more than a novel. I once worked in a major legal publisher and some of their books were priced at £600 per volume.
    4. Your description of “star” treatment book tour – argh! Like the worst bits of every day job I ever had, rolled into one, without a penny in my pocket when it’s over. Meeting readers is great, meeting other writers is cool, but there are much more pleasant ways to do that than pitching up at a book tour. WorldCon, anyone ;-)?

  9. Widdershins says:

    Hiya Kristine, I’ve had you on my ‘blogs I subscribed to and I must start reading before the year is done’ list … and this is the most perfectest one to begin with.
    Thank you.

  10. walter daniels says:

    I hate to bust your bubble, but ad agencies don’t (generally) study anything. I’ve been studying advertising/marketing/selling since 1996, so I can say that with some assurance. What they “study,” is how to win awards from other advertisers. Like writing books to win awards from publishers. Sadly, ad agencies a repaid by how much they spend, not how effective their ad’s are.
    The ONLY group that studies for effectiveness is direct mail advertising. They study, and test, almost obsessively for effectiveness.
    If you want to know what does work, read Frank Kern’s Internet Marketing newsletters, Rich Shefren’s material, or Drayton Bird. They all follow certain basic rules. 1) Don’t deliberately offend the potential customer. 2) Make it interesting (tell a story). 3) Stand out from everybody else, by being memorable.

    • Thanks for the list, Walter. I’m now off to see these newsletters. And yeah, I know, most agencies don’t study, but they at least try to be creative with the client’s account–just to hold onto the client…

      Much appreciated.

    • Teri Babcock says:

      From Drayton Bird’s Blog:

      “But General Motors – and Ford and Chrysler – got into terrible trouble and had to be bailed out, barely surviving.

      There were many reasons why, but one was their marketing. Besides their ads all tending to be boastful and dull, they fell into a habit I see as the marketing equivalent of crack cocaine addiction: heavy discounting.

      This gives an immediate boost to sales, but you become addicted to it. And you get nasty after-effects – as with crack.

      The people who buy most from a promotion are your best customers, who would have bought anyhow.
      People bring forward their buying so there is a slump afterwards.
      You are training your customers to expect bribes.”

      Thank you, Walter. I’ve only just started looking at your suggestions and already so grateful you took the time to name them. Brilliant stuff.

      • Synova says:

        A car isn’t quite the same thing as a book, though. If I get my car at a deep discount I don’t rush out to buy another car.

        Books are expensive enough not to want to take risks but cheap enough that if you have a favorite author it’s not hard to buy everything on her back list.

  11. Karen Myers says:

    “Palates of hardcovers”

    I think you mean “pallets”, unless, of course, you’re referring to their taste buds.

  12. As someone who is in the middle of a “big name” tour today, this was wonderful and timely advice.

    For me, the best part of the tour is meeting readers, answering their questions, and signing books. I hear a lot of “you are so patient with readers.” But readers are so patient with me. I’m honored and humbled by the fact that they’ve come out in all kinds of weather, stood in line, bought the book, and spent hours and hours in worlds I created in my head. I see so many writers take that for granted, and that surprises me every time. Readers could be spending their money and their time in so many different ways–that they choose my books is an incredible gift.

    All that said, you have to move a lot of books to pay for the airfare, hotel, and lost writing days, so it’s a constant balancing act. With so much of marketing, including touring, I wonder if it’s the tail that wags the dog–you have to have name recognition to get people in stores and people come into stores if you already have name recognition, but how do you build that in the first place? I’m touring with someone with a lot more name recognition than me, James Rollins, in case you’re wondering how I managed it (that’s clearly not an option for most writers).

    Thanks, Kris, for explaining the behind the scenes stuff!

  13. One more thing about book tours/ author readings — I’ve not been to all that many of them, perhaps five, but only one of them made me want to read the book the author was promoting. These were mostly authors I already liked — but they really didn’t know how to present themselves all that well. I bought a couple of the books, since I was there, but still haven’t read them — in some cases I skipped to the next one.

    The one that did? Mordecai Richler, and he combined his reading with a piano recital, and was not in a big city but a small university town in Nova Scotia that didn’t have all that much happening.

    The lesson I’ve taken away from this is, make sure you’re an entertaining speaker *along the same lines as your book* before you think about doing readings.

  14. Thanks for continuing this series! Your comment about the big signings really hit home. When my wife Gina and I published a comic book in the ’90s (Emma Davenport) we spent a small fortune running to all the cons (big and small) but sold the most at ComiCon in 1995 when Einstein’s Comic Book Store put us in a HUGE indie booth with more than a dozen other small press folks. Our best day at a con, and the most fun we had!

  15. Ramon says:

    I remember the second time I went to one of R. A. Salvatore’s signings. I was talking to him about it, and he had me laughing.

    “Since I’m one of the old guys at WOTC, and most of the kids there are much younger than me, I’ve got some pull. I told them I’d do signings only if my wife could come and everything was paid for. And I got loud and clear from his tone that it wasn’t a glamorous prospect.

    He also told me when I asked, that he’d given up on having an agent years ago. That’s when I got over the 5 start publisher treatment and stopped looking for an agent after my own two years of going back and forth with it.

  16. Kristi says:

    The most important marketing element of all is to write a book that’s worth talking about.

    So many authors are wasting their time writing pretty sentences; worrying about whether or not to start their sentences with a preposition instead of thinking about writing for their reader.

    They are focused on the wrong thing instead of becoming a better storyteller.

    If you write a story that’s worth talking about, you will not need to invest much time and money promoting it because word-of-mouth will spread like wildfire.

  17. You do realize your last sentence makes all the other words extraneous, don’t you? It is what brings in the win and the hardest thing to produce. I saw the effect on me of a small burst in the UK a few yesrs back. I do not know how to cause it or sustain it. From my feedback (very little) I suspect it is something other than the character or quality of the story. I suspect a lot of it is timing, as in the Fifty Shades phenom. And, as in that case in particular, we see how time flies.

  18. Yeah. I spelled my own name wrong. FML.