The Value of Vulnerability: Book Marketing without B.S. #8

Book Marketing without B.S. is a weekly publicity and marketing advice column for writers and other creators who prefer a realistic, clear, and no-nonsense approach. My goal is to help you cut through the bullshit with direct, understandable advice you won’t be embarrassed to follow. Send your questions to beverly@beverlybambury.com.


Today I retweeted a blog post by writer and Guardian columnist Damien G. Walter. It was called The DOs and DO NOTs of Getting Your Book Reviewed and in it was the kind of solid, realistic advice I appreciate (and have written many times before). The first thing he says is that you probably need to work on your craft and write something good. Write something better. It seems obvious, but so many authors and smaller publishers don’t give the book enough time to go through plenty of editing and rewriting. (Well, sometimes the editing is lacking at the big houses lately, too, but the shrinking corporate reality of the big publishers is a blog post for another day.)

The second piece of general advice is this: “put yourself, as a writer, in the shoes of the people and publications who review books”. Ah, yes. My old saw, empathy. Everyone’s busy, everyone’s inbox is overflowing, and of course we must not lose sight of the fact that reviews are not mere publicity tools, but information for readers (the consumers of your books). Walter also writes about having conversations, about engaging and being a part of the community of readers, writers, and super-fans.

By the time I finished reading, my impression was that the thread running through his advice is that of how important it is to be a real and social human being: don’t spam, don’t fake popularity (i.e. don’t buy followers!), tell your story, share successes and failures. What does all of that sound like? To me it sounds like relationships. It sounds like human interaction.

In particular his advice to share both victories and defeats resonated with me. This was for two reasons. The first is that sharing in this way is a reflection of real and healthy human relationships. If you’re with your friends, do you constantly chirp only your best news, neither listening nor sharing vulnerabilities? I certainly hope not, for your friends’ sake if not yours!

The second reason relates to an experience I had during my recent talk at SFContario. Our energetic discussion arrived at the subject of how important contacts and relationships are in publicity. I candidly shared an experience I mentioned here in which I talk about the time I had to contact outside of my usual area, and how my rate of success had been much lower. I told the audience that the true lesson of the situation was in the humbling experience of realizing that I didn’t have some magic in my query letters, just the more mundane reality of time spent on getting to know people and what they like, and building trusting relationships with them. Afterward, a few people told me that they appreciated my honesty, and that it helped them feel they could better trust my advice. While this was by no means a calculated move on my part, it illustrated yet again that the way you treat other people–the way you interact with them–makes a big difference.

You hear frequently that people don’t want to be spammed, that they don’t want you to just say “buy my book” over and over. Do you listen? Well, Walter’s post is an example of a person telling you what they want, very clearly and concisely. Are you going to listen and examine your behaviour critically, or are you going to make excuses about why it doesn’t apply to you?

My advice is to take a deep breath and remember that this is a long game. In our brave new world of publishing, your overnight success will take years, and–whether you like this or not–it will absolutely depend on two things: your attention to your craft and your ability to have real conversations with other human beings.


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Review Copies, Ebooks, and Pirating: Book Marketing without B.S. #5

Book Marketing without B.S. is a weekly publicity and marketing advice column for writers and other creators who prefer a realistic, clear, and no-nonsense approach. My goal is to help you cut through the bullshit with direct, understandable advice you won’t be embarrassed to follow. Send your questions to beverly@beverlybambury.com.


Want reviews? Of course you do! This means that you have to send review copies, and this can get expensive with numerous physical books to send. Many of you are paying for these directly or are with a small publisher whose budgets are as tight as your own. A few of you lucky devils will be with large publishers who furnish all review copies, whether physical or through NetGalley. In fact, this post may not be as useful for you if you’re on a major publisher. Check back next week!

Anyhow. I digress.

For the rest of you, this means you’re thinking about ebook review copies. For some writers this is a stressful idea, bringing on fears of piracy and the death of sales. First this post will look at how to prioritize physical vs. electronic review copies, and then I’ll discuss piracy fears and why you probably shouldn’t worry too much about it.

How should I prioritize who gets physical review copies and who gets ebook review copies? Generally it’s good to prioritize this with a simple cost/benefit analysis. If a site or publication is higher-traffic or is heavily influential, seriously consider a phsyical copy–if that’s their preference. Some actually will prefer an ebook. If it is a lower-traffic or a less influential site/publication, then it is most cost effective to see if they will accept an ebook version to review. This applies to comics as well as prose books. The final choice is between you, the reviewer, and your publisher; these ideas are simply decision-making tools.

You can determine priority by checking site traffic using a tool such as alexa.com to compare statistics among the places you want to review your book. A lower number is better (i.e. a higher rank), and if you can get sites better than a 500,000 rank, it’s a great start. I can’t suggest that you only decide with site statistics, however. You should be aware that some sites might have lower traffic ranking, but are influential. A good example of this is Weird Fiction Review. It’s a site with strong influence among many authors and readers in genre circles, but its Alexa ranking is so-so at over 1.8 million. Still, it would be a plum spot if you wrote the type of things that they like. Try your best to strike the balance between web traffic stats and less measurable aspects of influence. And, as always, take the time to read submission policies, reviews, and articles so that you get a good feel for what the site is looking for. It always benefits you to ensure that it’s a good fit for your work before you approach them.

One other note: if you send a physical review copy unsolicited, make sure it comes directly from you or your publisher, and includes a one-sheet. If you’ve corresponded with the person on the other end and they’re expecting it, it becomes solicited and this is when you can consider having it shipped right from the source (without the one-sheet) if you’re doing print-on-demand.

What about ebooks and piracy? First, let me be completely, unequivocally clear: I want creators to be paid for their work. If you don’t get paid, I don’t get paid. So read this with the understanding that I am firmly on the side of your intellectual property rights.

OK, all that out of the way, I want to say that piracy is not likely to be a big deal for a majority (though not all) writers and comic creators. Let me explain: chances are if you’re looking for marketing advice you are in need of audience growth. Audience growth will result from reaching more readers. Reaching more readers happens with word-of-mouth and well-placed advertisements. Ads are really expensive, so the majority of your marketing, especially early on, will be reviews by professional reviewers, and reviews by readers who share their thoughts on Amazon, Goodreads, and other similar sites.

Reviewers to whom you send an electronic review copy are nearly all good, ethical people who will not share the ebook with anyone. The few who may leak it can’t be helped. If the book gets out and gets read by people who then discuss it with others, some of those people will end up with a pirated version; but, some of them are going to buy your book. If you somehow are lucky enough to go viral on torrent sites, you’re going to get more sales and more fame even with people illegally downloading your work. This will ultimately translate into more money for you down the road. And really, the chances of your book going viral are quite slim anyway, so your lost revenue is negligible, if anything at all.

One of the best ways to get more readers for your work is to keep writing. The more you write, the more you tend to sell. So focus as much of your energy on writing and creating as you can, and over time it is most likely that you will get better sales.

One other thought about piracy is that it’s difficult to measure the impact. Are the people pirating your ebook the kinds of people who would have bought your book in the first place? It’s impossible to say, really. I suspect that in many cases they wouldn’t have bought it anyway. I know, I know. I don’t have evidence, but going on the principles of word-of-mouth marketing and the effectiveness of samples as a sales tool, I think it’s rational to conclude that over time a few pirated copies will ultimately benefit you.

So send review copies, ebook and paper, as you need. Don’t worry about it. Don’t fuss over DRM. (Unless, of course, you’re with a larger publisher and don’t have a choice. In that case you can use NetGalley, or send plenty of paper review copies that aren’t out of your own pocket. Lucky devils indeed.)


Keep those questions coming, and sign up to get my posts sent directly to your email by clicking here. Thanks for all the support!

Tonight don’t forget to join #GenreLitChat with John Mantooth, Nathan Ballingrud, and Heidi Ruby Miller. Tomorrow is Calls for Submission #2.

How Far in Advance to Hire a Publicist and a Book Marketing Plan Timeline: Book Marketing without B.S. #4

Book Marketing without B.S. is a weekly publicity and marketing advice column for writers and other creators who prefer a realistic, clear, and no-nonsense approach. My goal is to help you cut through the bullshit with direct, understandable advice you won’t be embarrassed to follow. Send your questions to beverly@beverlybambury.com.


Today brings another pair of related questions. The first is “How long before my book comes out should I hire a publicist?”

It depends to a certain degree what you’re looking for and on how in-demand the publicist is. My business is relatively young, so six months is plenty of lead time for me, and I can absolutely work with much less if required. I’ve even done emergency publicity!

Ideally, for prose novels, pre-work work for publicity should start anywhere from 4-6 months before release (for long lead-time review spots such as Publishers Weekly, Kirkus, and Library Journal). It is helpful to give your publicist plenty of time before that to plan and, if necessary, work with your publisher. Graphic novels and comics can work with a bit less lead time.

While this represents the ideal, it’s possible to do good work with much less time, too. Just bear in mind that for the biggest and busiest review spots that if you don’t give them at least a few months you aren’t likely to get reviewed. Other than that, 1-3 months is plenty for most reviewers and for setting up a lot of your publicity.

What if you try it yourself and suddenly realize, right before (or right after) release that you want some help after all? You can get help at the last minute, too, but it’s important to understand that many major spots won’t accept books that are either close to or post-release. Many excellent reviewers and sites will; however, so all is not lost. Just realize that you’re not going to get The New York Times from a book that is already released. Not even John Scalzi’s Big Idea, for that matter.

So for you TL;DR types: the best time to contact a publicist (at least for this publicist) is 5-6 months before release, but anything can work (even post-release books) as long as what you expect from your results is realistic.

The next question is “What timeline should I use to plan my book marketing?”

As  I mentioned above, if your book is eligible to be reviewed by Publishers Weekly, Library Journal, Book Slut, and other long lead-time publications., then send those review copies/galleys out 4-6 months before release date. Send these with a one-sheet, which is important to include with mailed copies.

For the rest, you’ll query. (Unless they say it is OK to send a book, of course, then you send the book with a one-sheet or via email/NetGalley, depending on the reviewer’s preferences.) A query is just seeing if a blogger or reviewer wants to look at the book and of course an offer to send one. As far as the timing, my assumption is that you’ve read other websites’ and publications’ and bloggers’ review and publicity submission guidelines. If you have, you’ll know how to stagger the rest of the schedule. Some will need to go out 3-5 months, some 1-3 months, some 5-6 weeks. This is one of the more time-consuming things: finding the right targets and making sure that you have them scheduled correctly. Don’t be shy about writing these down in order or using an electronic calendar to keep track. 

Make sure that as you query–particularly blogs and media you know accept guest posts and do interviews–ask for what you want from that site. Something along the lines of “If you like the idea or the book enough, I’d love the chance to do a guest blog post for you. I can do it on (sample topic 1) or (sample topic 2), or if you have something you’d like to hear about, I’ll gladly write that instead.”

2-4 months before release: if you want to set up book signings or readings, now is the time. Note that very popular reading series, such as KGB, may require 6-7 months of lead time. 

3 weeks to release date: handle your correspondence and write guest blog posts as required. If you have an interview or need to finalize any in-person events, make sure you have what you need. If you do book signings/talks, then you’ll want a poster of some kind to take with you.

What about those queries? Once it’s been 2-3 weeks, it is OK to follow up with people to whom you have sent QUERIES. If you’ve already sent an actual book (often those long lead time publications from above,) then don’t follow up. While we’re at it, if you ever send a press release (and usually you do not send those for books,) don’t follow up on those, either. Anyway, queries you can follow up, but they should be super polite and low pressure. 

At release time and after: make sure you’re meeting your deadlines and following through on commitments. If you get a good review or a guest blog or an interview, share it. Share when your book is released, too. Anything like that is fine. A bit more often on Twitter than on Facebook. Don’t forget though: if all you do is push your books, people will stop listening to you.

You may also find it helpful to revisit 5 No-BS Twitter Tips for Authors and 5 Steps to a Quality Blog Tour

Anyhow: this is a very rough and basic guideline. Each project will have to be planned based on its own requirements and based the resources of you and your publisher. As always, let me know if you have any questions about your situation.


That’s all for this week. Keep an eye out for the first of the semi-regular calls for submission columns. 

Keep those questions coming, and sign up to get my posts sent directly to your email by clicking here. Thanks for all the support!

Authors Reviewing Authors?

A client asked me today about what I think of authors reviewing other authors, particularly in a negative light. It’s an interesting companion with yesterday’s blog post about writers commenting on reviews. I am of two minds:

On the one hand, I am a strong proponent of critical thought and discourse. There is just too damn much puffery out there, and it seems like people (at least publicly) are losing their ability to think critically.

On the other hand, from a public relations perspective, it is smart for people part of a small community (and really, the internet makes it a small commuity no matter how far apart we are,) to write critical reviews of other community members’ work? Probably not.

So my answer? Sure, but be careful and make sure you support your assertions with examples.

But for the larger issue this puts us in a bind, and goes back to the 21st Century Criticism blog series on my personal blog. How do we get really good critical discussion and analysis when we’re all so close to each other?

Once again I fear we lose something in the democratization of the internet: the professional reviewer, with his or her professional distance.

All that said, I am a deeply social creature. I like the closeness and community and I like the friends I’ve made. I feel at home with many of my writing and editing pals. So we lose something, which I firmly believe, but we also gain. It’s complicated and I don’t pretend to have the answers.

So where do you go for really good, fair reviewers–even for what they don’t like? (I mean this aside from Goodreads and the like, which I think are the obvious choices–I am interested in what individuals are out there fighting the good critical fight.)