This weekend I attended a talk by book publicist P.J. Nunn. (Thanks to the local Austin Sisters in Crime chapter for setting it up.) PJ blogs once a week over at Dead Guy where she imparts little gems about what authors need to do to get noticed. You can also find out more about PJ’s company, Breakthrough Promotions, on her website.

Anyway, I brought home a few useful tips and facts. Since I read Dead Guy, not all of the things were a surprise, but I tried to condense a few of the more interesting tidbits here:

1. Once you sign a contract with a book company, you need to start looking for a publicist if you intend to hire one. Actual events won’t be scheduled, but you’ll have time to interview various publicists and once you hire one, she will keep you in the back of her mind–when booksellers or radio people call her looking for a book tie-in, she’ll know if you and your book are a good fit.
   
   P.J. likes to know about a book coming out twelve to eighteen months in advance to work you into the schedule and do the best job. She works with authors with a shorter time-frame all the time, but the longer in advance she knows, the better. You don’t need a publicist BEFORE the contract is signed.
2. Books distributed by other than Ingrim or Baker (as is common with smaller publishers) cannot generally be carried by major book chains without going through an approval process. In other words, if your book won’t be distributed by the big name distributors, you won’t appear in stores. You MAY be able to get one or two local chain store(s) to carry the book if they know you (you shop there, you take the time to introduce yourself, etc). The chains won’t order them unless someone comes in and requests the book. They will order that single copy for the customer, but not carry the book on the shelf (this is actually true of some bookstores even if you are with a major publisher–if the book isn’t on their buy list, they will only order the one copy).
   
   There is an approved list of small publishers/vendors that the chains reference to see if they will carry your book, but this list is not readily obtainable–nor is it easy to get a publisher on the list if it is not already on there. You will have a harder time selling your book through bookstores. For any signings, you may have to supply the books yourself (the bookstores will process them and you’ll get paid for sales, but you have to have the inventory). This is something to take into consideration when you’re signing that contract. It doesn’t mean you shouldn’t sign–but it does mean you should know your selling job is going to be harder. A few publicists may try to help you/your publisher get on the approved list, but it is difficult and not something the bookstores are particularly interested in doing. PJ didn’t use the word “impossible,” but you could see it on her forehead.
3. Print announcements (newspapers, magazines) are the hardest advertising/announcements to obtain these days. You must schedule three to six months in advance. You generally must have a personal angle/hook to get a write-up–not just being a local writer, but a tie-in with some event. For example, if you write cooking cozies, you have a better chance of a local radio or paper spot if you use that book angle during a large summertime cook-off.
4. Kirkus and Library Journal require two copies of your book in order to even consider doing a review. Publisher’s Weekly requires one (I think–better plan on two just in case). In these times of cutbacks, consider that your author copies (the number of free copies you get from your publisher varies by contract) are going to be used for publicity. You might want to try and get more copies in your contract so you have more to use for publicity.
5. If you don’t get ARCs (Advance User Copies) from the publisher, consider doing your own semi-professional bound copies at Kinkos/Office Max to send to some review places. It must look nice!!! Do not make a hack job of it or your book will likely be set aside and ignored. (Ten to twenty ARCS is a common number of ARCS done today, but that number is dwindling. That number is also generally a smaller number with small presses.)
6. If you write a Christmas book (as is quite common with cozies) you have a limited shelf life. Be aware of this when/if you’re asked to do a specialty/holiday book of any sort.
7. Take something eye-catching to your book signing. Examples: Lego displays that depict a scene in the book. Mini-crime scene. Framed objects or a poster board with clippings/objects that apply to your book. Do not dress as a vampire or get too cute…do not go naked with a sign board of your book cover covering…parts of your body!
8. What can a first time author expect from a publicist? As an unknown, a publicist should be able to get you:
    
   • reviews on the internet
   • Local paper announcement (sometimes these are very difficult.)
   • Book signings
   • Library Appearance
   • Radio Appearance (local, smaller markets)
   • Maybe local tv

How much would something like the above package cost? Anywhere from $500 to $25,000, depending on the publicist. If you hire a publicist, ASK what you will get for your money–how many interviews, print appearances, signings, etc. Keep in mind the publicist may not get every single one that you talk about–but you should have some sort of meter in mind for your money. PJ works with “packages,” trying to set up “x” number of things for a certain price and more for a higher price. This may seem obvious, but it is not–many publicists will take your money with no particular plan in place.

I’ll talk more tomorrow or later in the week about my impressions of the discussions at the meeting–my own personal take-away. If you have questions, throw them in the comments–or visit Dead Guys and post comments for PJ there. She’s very approachable and helpful.