Pub Rants

Category: Marketing & Promotion

Happy Monday Indeed!

STATUS: Holy cow what a morning!

What’s playing on the iPod right now? EVERYTHING SHE WANTS by Wham!

I’m getting no work done because all I’m doing is sitting around and grinning like mad.

Remember back in July when I let y’all in on a little secret about how wonderful my colleague Sara Megibow is?

Well, I’m giddy to report that the baby boy arrived yesterday at 3:25 p.m. on Sunday, November 1, 2009.

Baby Trey is healthy. Sara is doing great. And the new parents are ecstatic and exhausted.

Everything is as it should be!

And if that weren’t news enough, this morning I read about Publishers Weekly choosing SOULLESS as one of their top 100 books for 2009.

And then if that weren’t enough, PW gives PROOF BY SEDUCTION a starred review saying

“Historical romance fans will celebrate Milan’s powerhouse debut, which comes with a full complement of humor, characterization, plot and sheer gutsiness.”

All this and HOTEL being on the NYT trade bestseller list for several weeks now, I honestly don’t know what to do with myself. Work? What’s that?

Happy Monday because I’m sure loving it.

We Interrupt This Royalty Statement Tutorial

STATUS: It was a great day I have to say.

What’s playing on the iPod right now? WOMAN by John Lennon

To bring you a special squee moment!

Wait, I’m a professional.

I interrupt this royalty statement tutorial to give our client Jamie Ford huge congratulations for hitting the New York Times trade paperback bestseller list coming in at #15 for Hotel On The Corner Of Bitter And Sweet (and after only being on sale for five days).

Yes, that’s more like it!


That makes it NLA’s third NYT bestseller for this year.

Squeeeeeeeeeeeeeeeeeee!!!!!!!!!

Three Articles Worth Sharing

STATUS: TGIF—even if it’s cold in Denver.

What’s playing on the iPod right now? BARE NECESSITIES by Phil Harris

Sorry to interrupt our fun with royalty statements (and don’t worry, I’ll resume on Monday) but I saw these three articles and they definitely are worth sharing.

First article is a follow up to the one on Tuesday about FTC fining of blog reviewers for nondisclosure. Richard Cleland highlights that the FTC doesn’t have the authority to level fines, and he says, “the blogger or endorser would not be fined, but the advertiser would.”

Second is a blog entry on the HuffPo site from Steve Ross (Former President, Collins Division at HarperCollins and Sr. VP, Crown Division at Random House) asking why we can’t all just get along and responds to two recent blog postings by Chip O’Brien and Mark Coker with the following:

“Both blogs are, to this reader, rife with fallacious thinking, faulty reasoning, and/or tunneled perspectives that ignore the complex realities that publishers face during this turning point for the industry. But at a time when it is in the best interests of everyone who loves books to help the major houses endure, they’re being scapegoated, demonized and ridiculed for trying to survive with the crippling business model they’ve been handicapped with for decades.”

Last but not least, FrogDog Media does a children’s iStorytime ap for the iPhone—just in case you want your 3-year old to read instead of playing a video game on your iPhone. Kinda cool. And they are doing all picture books by new writers.

The Agent Crystal Ball Myth

STATUS: Reviewing royalty statements—of course.

What’s playing on the iPod right now? I LOVE ROCK AND ROLL by Joan Jett

Agents really don’t have a crystal ball to anticipate the market. For example, 2 years ago when Gail came to me with her manuscript SOULLESS, I wasn’t sitting at my desk thinking, “wow, if Jane Austen were to write a Victorian Steampunk fantasy, this vampire/werewolf comedy of manners called SOULLESS would definitely be it and yessiree, this type of parody is the wave of the future.” Heck no. I just sat at my desk thinking, “wow, this is cool and I’ve never seen anything like it before.”

Little did I know two years ago that in 2009, Pride & Prejudice & Zombies would hit a cultural nerve and climb the New York Times bestseller list and something like SOULLESS would be hitting the market at exactly the right time. Now I look like a genius who anticipated potentially the next “hot” trend. Uh…. yeah, that’s it.

SOULLESS is powerhousing out of the gate with thousands of copies sold in its first two weeks on sale. It’s number #21 on Bookscan’s fantasy bestseller list (and may have the potential to climb some—although it’s going to be dang hard to knock Charlaine Harris out of the top 10 slots with her Sookie Stackhouse/HBO’s True Blood series.)

It looks like I’ve had incredible foresight but the truth is that I didn’t know this was going to happen. Any agent that tells you differently is feeding you a load of you know what.

Now we can surmise, guess, analyze what is hot and what is still selling and make some assumptions about what might trend in the future.

But none of us actually know. Which is a good reason to never ask the question at a writers’ conference!

Congrats Gail on a stunning debut!

Blog Reviewer? Disclose Or Face Fines. Seriously.

STATUS: My favorite—reviewing 50 pages of legalese in a film option contract. Not. Grin.

What’s playing on the iPod right now? I’M GONNA BE (500 MILES) by The Proclaimers

Oh this is rich. This just in from Wired. The FTC is now telling Amateur Bloggers to disclose that they’ve gotten free review copies or ARCs or face fines.

FTC wants tweet disclosures as well.

What a happy can of worms to open. Can you say hard to enforce?

Does The Size Of The Advance Equal Success?

STATUS: Blogging a bit late tonight. Busy day.

What’s playing on the iPod right now? MR. JONES by Counting Crows

The answer is yes.

The answer is no.

The size of the advance paid can increase the likelihood of success as the publisher is more likely to commit significant resources toward a title that a large advance was paid for.

However, the size of the advance is not a guarantee of success for any specific title.

I remember reading an article in Publishers Weekly last year (and I wish I had saved it). The article outlined two thriller titles being released by two different publishers. Both thrillers were in hardcover and the lead titles for their specific imprints. Both titles had a solid six-figure advance. Both titles had significant resources allocated for the marketing and promotional push. Both titles were from debut authors.

One title hit the New York Times Bestseller list. The other title had, in the publisher’s own words, “disappointing sales.”

So what happened?

Quite simply, no amount of money can force a public to want and buy a book. Sometimes it happens and sometimes it doesn’t. If the publishers knew what created that ground swell to catapult a title onto bestseller lists and a million copy sell-thru, they’d do it for every book.

It’s a dangerous to assume that the size of the advance paid is the only indicator of possible success. (Or that a publisher who has paid a large advance will always pay attention to that title rather than embrace a newly bought title that might sell even better.)

And every agent I know has a story of a little book that could. The book that was a hard sell, that didn’t have a big advance, that had almost no marketing or promotional budget attached and yet defied all the odds.

A great success story that exemplifies this exactly is agent Deidre Knight’s 90 Minutes in Heaven—a book that was not sold for a lot of money and certainly wasn’t released with a lot of hoopla. Initial print run was by no means huge. The hardcover sold modestly well but then when the paperback version released, an explosion happened. The book kept gaining traction. Word of mouth. The ground swell that money can’t purchase started to happen. In the end, I don’t know exactly how long the title stayed on the bestseller list but I do know that it was for more than a year. This book has now sold millions of copies.

So does a large advance equal large success?

The answer is yes and the answer is no. All the stars ultimately have to align.

Not All Publicity Is Good Publicity

STATUS: The dog days of August. I handled over a 100 emails and got caught up. I concluded a film deal (won’t be able to announce for a bit so sorry) and did a phone conference about a contract as just a tad bit of what I did today.

What’s playing on the iPod right now? STAY (I MISSED YOU) by Lisa Loeb

I know you’ve heard the saying that all publicity is good publicity. Well, I can certainly think of a few instances where that might not be the case and when I saw this article about an author who made the news because she shot her father in the rear end, I thought to myself that there really couldn’t be a better of example that I could offer of this.

Especially since the author describes her writing as redneck noir. Suitably apt? So maybe the lesson here is think before you shoot?

What A Difference A Cover Makes?

STATUS: I used to think August was a slow time in publishing. Hum…we seem plenty busy.

What’s playing on the iPod right now? CAN’T HELP FALLING IN LOVE by UB40

Those of you who read my monthly newsletters know that I belong to a book club. (One good reason to be reading outside of my client manuscripts!) I also always get asked the question of whether I have time to read for fun. As of late, not much but that just motivates me more to read what my Book Club has chosen for our next title.

So this evening I was popping online to read a little bit more about the book that we have chosen—which is SWEEPING UP GLASS by Carolyn Wall.

When I first did the search on Amazon, up popped an image that was unfamiliar to me. I had read the Publishers Weekly starred review for this book (which is how it was brought to my attention), but I hadn’t ever seen this cover.

Thank goodness as I don’t think I would have even brought up this title to my Book Club if I had seen this first.

This cover may speak to you but I have to say that it was a real turn off for me. If I had seen this first, I might have passed on recommending this book as a possible read—even with the starred review.

However, I hadn’t seen this cover until I was goofing around online this evening. Here is the cover that I saw for this title.

It’s a redesign done for the trade paperback edition.

So of course I have to ask you folks what you think. Read the description of the novel first and tell me what cover would have made you pick up the book. And I realize that this is all subjective based on individual preference etc. but I find it fascinating all the same.

How To Get Money Out Of A Publisher

STATUS: It’s been a really frustrating week. It’s already after 5 and stuff that has to be done, I’m only starting on.

What’s playing on the iPod right now? OLD APARTMENT by Barenaked Ladies

Contrary to popular belief, it is possible to get money from Publishers for promotion—even if you aren’t the lead title or the next big blockbuster book for them.

It’s all in the way that you do it and your expectation. It’s not going to be thousands and thousands of dollars but it may still make a difference for your launch. So how do you go about getting it?

1. Have a clear marketing and promotion plan for the launch for your book. And I’m talking a real plan, not pie in the sky stuff. Things you can actually do, blog tours you already have lined up, speaking events that you will be at. If you haven’t got that in place, you’re not getting any money. When you have that in place, you need to share it with your in-house contact or you’re not going to be able to get money.

2. Choose a promotional element that has the most likelihood of getting funded because you can aptly demonstrate how the publisher will get bang for their buck. In other words, you have clearly outlined goals for the event, how you can make a difference reaching booksellers, or have a workshop or speaking event already lined up if the publisher can just get you there.

3. Have clear expectation of what they a publisher will and will not pay for. For example, let’s say you have some cool media and speaking events already lined up at ALA (American Library Association) as you planned to be there anyway. Then go to your editor and say, hey, look what I’ve got going here. Would the Publisher be willing to pay my way for airfare and hotel? If you can show a reasonable benefit, I find that editors have been pretty open finding some money for you. (Let’s say you are doing events close to home, you do the driving and that cost and see if they’ll pay for hotel. Make it a partnerhsip.)

4. Here’s another good example. I have one author who does a lot of speaking at various events and sites. These speaking engagements are being paid for by the people hosting the event (publishers love that!). Great. But what about some promo materials to be at those events? We’ve gotten publishers to pay for excerpt booklets, bookmarks, special give-aways, promo posters to have there, etc.

5. Here’s another great way to get money out of the publisher. Show them exactly what you have budgeted from your own money for promotion. Publishers are more likely to give money to authors who are clearly working it from their end. Even if they don’t pony up ths time around, they might be willing to partner on promo expense for the next book. They might even pick up the tab for a book trailer.

6. Show that you are media savvy and can handle whatever is thrown at you. Collect interviews and share them with your editor and in-house contact person. Publishers are more willing to put together a publisher-paid tour for you or maybe even a call-in radio tour (which doesn’t cost them money but does take a lot of time for a publicist to set up), if they know you’ll make the most out of those opportunities.

These are just a few things. Tons more out there if you’re creative, savvy. Find out what works and what doesn’t.

And don’t assume that these kinds of things are just for the biggest sellers. I’ve gotten many different kinds paid promotion stuff for solidly mid-list authors or even debuts that weren’t lead titles etc.

The last thing you need to remember is this: You can’t get what you don’t ask for.”

What’s the worst they can say? No. You can probably live with that.

Why We Have A Marketing Director

STATUS: Heading out for the night but plan to do some much needed client reading in the next couple of nights. Hubby is out of town. Amazing how much more work gets done when that happens.

What’s playing on the iPod right now? SUNDAY MORNING by Maroon 5

Early this year, I realized I was spending in ordinate amount of time talking with editors and in-house marketing and publicity people about my clients’ upcoming releases.

In fact, I was spending so much time doing that, I started wondering when I would have the time to read new material and take on new clients. After all, I’m an agent, not a marketing coordinator.

And that’s why this past March, I hired Lindsay Mergens to be out Marketing Director here at NLA.

Here’s a link to her bio so you can see what a great background she has for this job. However, being a Marketing Director for an agency is not the same as this corresponding title in a Publishing house. What exactly would she be doing? Would she be duplicating Publisher effort by actually doing marketing and publicity? Nope, that’s not what Lindsay does.

So here’s what she does—think of it more like coordinating.

1. Tracking all upcoming releases and doing a timeline of what is being done in-house and when we need to be following up with the author’s assigned publicist about the marketing plan.

2. She works on the marketing plan with all our authors so they have something to say other than “I don’t know what I’m doing with this.” All authors know more than they think they do. She adds these things to the Publisher’s plan and helps to tweak what will be done.

3. Sometimes she gets money out of the Publishers for an author visit that they might not have done otherwise if we hadn’t simply requested it.

4. She is the liaison for the in-house publicist and marketing person assigned to the author.

5. If the author would like to hire an external PR company as well, Lindsay hooks the author up with the right people. She also reviews any PR proposals that an external company might present.

6. She attends meetings with me in New York when we are meeting with the Publishing marketing and publicity people. As she used to be one, she knows exactly what to ask.

7. When the marketing plan is formed and finalized, Lindsay is the point person to see that all things get implemented and that all the info is disseminated to me, to the author, rights co-agents, etc.

8. She helps authors fill out the client Author Questionnaire (which can be a huge deal as that is often the in-house template that will be worked from).

9. When folks contact us about having one of our authors come and speak, Lindsay handles that and coordinates with the publisher,

10. Book Trailers. Marketing Materials and so forth, Lindsay reviews it all, requests changes if necessary or generally helps guide this whole process.

11. Book tours abroad. Lindsay handles it and coordinates with US publisher.

This list could go on and on. In fact, I’m probably leaving out tons of stuff but this should give you an idea of why I would hire someone to do this for the Agency. As the main agent, I’m cc’d on all communications but honestly, I’m not sure how I did without her for so long. It’s a job in and of itself.