Shake-up at Penguin

A tipster just informed me that the Dutton/Gotham publicity department is being shifted around. Apparently, Gotham Books and Avery are merging under publisher Bill Shinker, and Lisa Johnson will head the publicity and marketing departments for both. Head of Dutton publicity and marketing will be Christine Aronson, joining the Penguin team from Crown.

No word yet on how the rest of the publicity/marketing team will be split. But perhaps this will finally slow down that ever-spinning revolving door?

--Slunchie

Publicity Relations Explained via The Swivet

This was just passed along to me, and I thought you guys would appreciate in. Colleen Lindsay has started a Pimpin' Your Book series over at The Swivet, and one of her latest entries is about how to work effectively with your publicist. Recommended reading for all current and want-to-be authors. Some choice tips:

1. Don't be a prima donna: Nobody likes a prima donna. Think about about what you're asking for before you ask. Is it really necessary or did someone tell you that this is what you're supposed to ask for as an author? Difficult, high-maintenance authors develop a reputation with publicists, booksellers, producers, media escorts and other authors.

2. Don't call your publicist several times a day with new questions. Don't send your publicist more than one email a day. Instead, gather up as many of your questions as possible into one email, and then wait for an answer before sending off another.

3. Don't forget to say thank you: It's not necessary to buy your publicist or editor or marketing person a gift. But it's absolutely proper to send a thank-you note or email after your campaign is over. And you'd be surprised at how often authors don't do this. Say thank you. It'll go a very long way toward earning you respect as a professional.

There's also an explanation of the publicity timeline, etc. but I have decided that the above really are the most important. Don't be a pain in my ass and buy me stuff (technically not necessary but I will like you better). We'll get along just fine.

Do tell,

The Editor

Word, Molly Friedrich

From a Poets & Writer's interview by Jofie Ferrari-Adler with literary agent Molly Friedrich (from Publishers Lunch via The Book Publicity Blog):

Q: Did you like doing publicity?

A: In my opinion, the two jobs that are the most exhausting in this business are the jobs of the foreign scout and the publicist. The reason is that there is never an end to the job. If you're a scout, there is always another book you can cover, another house you can do well by, another report you can write. If you're a publicist, for every eighty letters you write, and eighty ideas you try, there are seventy-nine that don't work. But the only ones that the author hears about–and the editor hears about and your boss hears about–are the ones that work. It is a thankless and really difficult job. But I did it.

Amen, sister. That's all I gotta say. Amen.

--Ladytron

Houghton Mifflin Harcourt Sees the Error of Its Ways? (UPDATE: No)

I was just skimming yesterday's Publishers Lunch (no matter how many times I whitelist it, PL always gets caught in my spam filter), and I noticed this. Apparently, after laying off half the publicity staff in the merger, HMH is now hiring a senior publicist. I'm sure that all of those still looking for a job are thrilled to hear that. Could HMH (specifically, Lori Glazer) have finally realized that doubling their list without doubling their staff was a mistake? UPDATE: Ok, apparently someone left. Which makes this whole post kind of pointless. Oh well. Except, hey guys, there's a senior publicist job out there! Apply. Or maybe they can hire one of their old employees back? I'm sure the severance must have run out by now.

--Ladytron

Oh, Deathtron

In response to Deathtron's latest, I just had to say something. It's quite possibly all the lemon vodka thingies I've been having tonight, but I agree. I do. And it makes me a little bit sad that this is my job. Because some days it does truly suck. There are authors or bosses who can suck the life out of it - and make me doubt that I'm any good at it. And I hate that. It pisses me off more than I can say, especially when it's one of those authors that I have made a priority. Deathtron is right in the fact that we're all overworked, and that there are just too many damn books for anyone to do a decent job. But when one of the authors who I have focused on, who I have pitched to hundreds of outlets, who I have gone above and beyond for...well, when they question my "commitment" to a project. Yeah, it's enough to make me want to throw in the towel.

But...there is something great about some authors that makes it worth while. The ones that appreciate every little thing you do. Unfortunately, some authors are horrific. You can try and try, and no one cares about the book - and the author thinks it's because you're not putting the effort in. That you're emailing instead of calling, or not calling or emailing enough. And the fact is, that at least from what I've experienced, that people you are pitching to either want the book or not. And I'm not going to mess up my relationship with a reviewer because Author X thinks the best way to handle it is to call them everyday. I know that reviewers and producers are overworked as well. Mostly because people like us are harassing them everyday with books or stories they don't care about. But I like to think that it's understood that I'm going to try this idea out on you, and if you don't like it, then I won't bug you again. And the times I do have a story you like, then we will get along splendidly. But, I'm sorry, authors, I'm not going to make someone so irritated that they NEVER want to like a pitch I send them in the name of harassing them about your book.

Yes, your book is important. I get that. you wrote it, it means a lot to you, and I'm publicizing it. If I'm freelance, then I took it on and I obviously want to do a good job because it's my name and my reputation. If I'm in-house, I want to do a good job so I don't get in trouble. WE ARE TRYING. And calls about how you think maybe we could try harder, or maybe we're not doing it right...well, it's not a motivator. It's a turnoff. The authors that are appreciative for what I do, I work that much harder for them. Because I want to prove that I'm worthy of their thank yous. Those of you who criticize....well, I feel guilty and then angry. And it eats away at my self-confidence. And I don't think you want a publicist who is doubting him/herself.

So, yes, Deathtron, there are times when publicity can be a soul-crushing job, and if I had the balls and/or money to leave it, I just might. But, at the end of the day, I do it for those authors that appreciate me. And for the rush of getting the perfect placement for one of my favorites. And for now, those moments of glory are enough for me. And I hope that it will continue to be. And I hope that authors and bosses will keep this is mind (ha ha, 'cause I know that sooo many of them are totally reading this. sigh) - because I've watched people that I know are fantastic at their jobs being broken. And I hate it.

We do it because we love books and we love our jobs. Please stop ruining it for us. Or we'll all end up like Deathtron. And I, for one, would like to retain enough optimism to keep this up until I'm head of a department with much, much more money.

--Ladytron

Why I Hate Book Publicity and will Never do it Again

1) The work never ends. No matter how much publicity you get for a book, there is always more to get, something else to do, another person to pitch, news angle to take advantage of. There is never a sense of completion, just a slow winding down of how much attention you give an author and their book. I’d like closure for once in my life.

2) Too many books. You want me to effectively publicize 5 books a month? Do 3 tours in one month? Ummm, that’s an unreasonable expectation. Ain’t gonna happen. 1 will get my full attention. 3 will get the bare minimum. One will totally get lost in the shuffle. I’m tired of not having the resources, tools and time to do my job effectively. Why doesn’t the biz realize that it’s publishing too many books for the staff resources to actually work on? And even worse, publishing books that compete against each other. I can only pitch so many people so many times before I piss them off. Looking forward to less stress and getting that krick out of my neck from holding the phone to my ear with my shoulder from too many conference calls.

3) Unreasonable authors and their expectations. Yeah, I know this book is your baby, I know you spent 3 years writing it, but face it, calling me every day to check the status on your book is taking away time from working on your book. You’re a first time author and its mass market and nobody has ever heard of you and really don’t care. I’m doing my best here. Every one hour meeting with your agent, the editor and my boss you want to have is an hour I’m not working on your book. Hey, some of you were a joy to work with and for that I’m thankful but I’m really tired of dealing with the rest of you. Bye.

4) Meetings. The last place I worked we actually had meetings to discuss what we would say and cover in our upcoming meeting. I’d say ¼ of my time was spent in planning meetings, marketing meetings, sales meetings, meeting authors & agents on potential buys. Enough! I’m done with meetings… unless it’s over lunch or a beer and you’re buying.

5) Quality of life. I’ve eaten breakfast and lunch at my desk for the last time. I’m turning in my blackberry so I don’t have to get an email from my boss on the weekend about something we can easily discuss on Monday. I’m never working late or on the weekend again after a five day week because there’s too much work to be done and instead of increasing staff to cover the work load it’s been cut. I’m going to start eating at a proper table… or over the sink.

Yeah, I'm sure some of you snarky commenters will be like "geez, what a baby, suck it up and stop whining. I'm not whining but venting and moving on. If all i did was just complain and not change anything, well then, you'd be right to taunt me. However, i'm just sick of the shit and not in a position to change the industry from the inside so I'm getting out of it. Good luck, suckahs! See you in hell, or at the bar, which ever is closer.

-Deathtron

Is the TBR all it's cracked up to be?

So, yesterday, I was flipping through the NYT Book Review and noticed that they had finally gotten around to reviewing Barbara Walter's Audition. This in turn reminded me of a conversation I've had with several authors and industry peeps over the past few months - has the Times Book Review become outdated and irrelevant?

Most authors (and publicists) consider the TBR to be the holy grail of print media. Everyone wants a their book to be reviewed there. Next to, "what about Oprah?," this is the most common question I get from authors. Yet, the times (ha) I have gotten full page reviews, it's barely moved books. Not to mention, these are almost always books that have already been covered a multitude of other places. Sometimes it feels as though the TBR waits to see what everyone else is going to do, and then jumps on the bandwagon - at which point, I no longer care about the book.

For instance, this week, there was a review of Barbara Walter's Audition - which came out over a month ago and has been covered ad nauseum by bloggers, reviewers, TV and radio, etc. We all know the scandalous parts already, and anyone who cared to read the book, probably has already done so. Or is waiting for the paperback. Why bother to run a review a month after pub? Even bookstores don't like to host events after a month has lapsed...why is the Times so willing to feature a book that has arguably already jumped the shark?

There are exceptions of course. There's a review of the new David Sedaris, which pubbed only two weeks ago (and which, btw, I can't wait to read!). But again, even two weeks feels like a long period of time. As publicists, we're taught to get in as much media the week of pub. Not the second or third or fourth. I mean, we'll take coverage those weeks, but we're supposed to line up as much as possible with the hopes of moving enough books to debut high on the list.

So why doesn't the TBR follow this? I know it's not because we don't get the books to them soon enough. As soon as galleys arrive, copies are immediately sent to Dwight, Sam, Nancy, Rick...And yes, I know they received hundreds (if not thousands) of books a week, but you know what, so do all the other major outlets...which often beat the times in coverage by several weeks...is it just because they CAN? Or is it because they are struggling to keep up in an era where book news breaks quickly and bloggers have upped the ante on churning out reviews?

Or I am just being grouchy because it's Monday and I'm bitter because not enough of my books are reviewed?

--Paige Sexie

Random thought of the day

So, we all know that book review sections are shrinking and we’re constantly having to “think outside the box” to get our authors covered in other ways. Recently, I’ve been trying the approach of pitching pieces an author has written to major publications in hopes of placement with a byline mentioning the book.

My question is, does this work? It’s hard to tell if that op-ed piece that ran in the Times had any more impact than the review that ran on Bookslut.com. And, yes, it’s nice for the author to say she had a piece in O Magazine (esp. if she got paid for it), but does this translate into sales?

Any thoughts? Or am I just wasting more of my time to stroke an author’s ego without actually helping their book?

—Ladytron

Why I love some BREs....not

So, a lovely publicist friend just passed this along to me. For those of you too lazy to click through, it's a Publishers Weekly blog entry by Editor-in-Chief Sara Nelson, entitled "Why I Love (Some) Publicists." Bascially, Sara acknowledges that we have a hard job (duh) and face constant rejections (sigh, it's amazing we retain any self esteem). But, then, she goes onto say how she appreciates it when publicists tell her the "truth" - ie, admitting that this book might not be for everyone, but here's why she should look at it anyway. Sara goes on to say:

"It’s not easy – and it usually helps to have been in the business a few years and to know the tastes of the person you’re addressing. The greatest publicists, even, will privately admit to a book’s faults without damning its author – and those, above all, are the publicists I like. No book is going to be 'perfect' to everyone, and by admitting flaws, honest publicists are helping reviewers and editors do their jobs."

Ok, first of all, I don't know anyone's tastes. I don't even know my own. I mean, I know Marilyn Stasio likes mysteries. I'm not going to pitch her a memoir about Iraq. And I know that Pat Towers isn't going to review the new advice book about how to pick up chicks. So yeah, fine. But do I have time do look through a pile of literary fiction and think to myself, hmmm, would Dwight Garner prefer the moving one about the boy coming of age during the Holocaust, or the comical story of a young woman trying to make it in finance. Um, no. And I certainly don't have time to do it for Sara Nelson - no offense, Sara.

For every book I work on, I'm pitching hundred of reviewers, editors, producers, and reporters. And yes, I try to tailor those lists based on the type of book and to tailor certain pitches. But, the book review editor in Tulsa is probably going to get the same pitch as the BRE is Atlanta (if the AJC still had one, of course). That's just the way the cookie crumbles. I don't have time to research all of you and discover your tastes. And if you care so much, why don't you let me know? How about sending me some guidance - ie, I only review this. I prefer this. Then, I can stop wasting your time and mine.

--Ladytron

Bonus question: Thoughts on who the favorite unnamed publicists are?

We're not book reviewers...

OMG, guess what! We've started getting query letters about reviews. I guess we've finally arrived. Here's the deal, guys. We're in the industry, too. We're not reviewers. We don't have time to be reading your books and reviewing them to get you publicity. I mean, if we were going to do that, we'd just review the books we are each working on. That said, if you have TIPS of anykind, please send them to us. Or, if you think there's some funny story about a book you're working on or an event that you think we should know about. In addition, if you're interested in writing for Slunch, submit something. Less work for us, and really, we're all about that. But, we don't accept books. Sorry, kids.

Do tell,

The Editor

I just don’t feel that way about you anymore…

A bit belatedly (obvi have not been checking out other blogs enough!), I discovered this great post from Bella Stander’s Reading Under the Covers, which Bella posted courtesy of Darcie Rowan, McAllister Rowan Communications Group. I won’t repost the whole list, but in summation, for you people too lazy to click through, it’s a Top 10 list for authors: signs that your relationship with your publicist could be in trouble. Now, I’m going to assume this is for an outside publicist an author has hired, since there are references to paying for services (and in-house people obviously receive no money from the author. or really, from anywhere. god, it sucks to be us). But, in which case, this is even funnier because, for the most part, I detest outside publicists – and obvi, we in-housers would never treat you badly. ;-) Here are my favorites (with my comments in italics):

9) If after the first three months, your campaign isn’t getting the results and attention you were led to expect. Talk about this! If your publicist doesn’t want to entertain your concerns or hear your side, there may be trouble brewing in paradise.

This is why I never give expectations. It only leads to hurt feelings. Publicity is a crap shoot. I’m gonna try my best, but dude, there are no guarantees. And really, what's realistic, is probably not what you are hoping for. I can tell you our "dream spots," but I always try to convey that those are the equivalent of your reach school - the Ivy League of book coverage. However, if you think there’s something else I should be trying, definitely speak up! Oh, but please don't ask me if I sent your book to Oprah or the New York Times. I'm not stupid.

6) Be wary if your “little darling” writes a press release containing incorrect information – or it appears that she didn’t read your book. No publicist should be pitching a book that they can’t discuss with the media.

Sometimes we don’t read the books. Sorry. There’s not always time. That said, publicists, if you’re gonna slack on the “reading” portion, be extra careful with your fact-checking. There really is no excuse for putting down the wrong info.

4) If your “snookums” provides updates without specific names of media people or specific outlets. Ask for that info; it’s not top-secret. You should know who has been sent your book. If the list includes “The Sally Jesse Raphael Show” or “Montel Williams,” watch out! Your publicist is either working off an ancient list, or isn’t really working on your book at all.

Ha Ha. I remember sitting in sales meeting one time, and a publicist rattled off the names of some shows that had been off the air as targets. EMBARASSING. Peeps, make sure your contacts are up to date. And try to memorize the contact names at the big places so you can rattle off the names and appear as though you actually know them – and by know, I mean have had interactions outside of pitch emails and rejections.

2) For whatever reason, you and your publicist don’t see eye to eye, don’t have similar goals, have “lost that loving feeling,” or you’re having more arguments with them than you do with your real spouse. It may be time to have a fresh set of eyes look over the project and see what could be done differently. We aren’t condoning cheating, but it wouldn’t hurt to see what the competition thinks of your successes and failures.

Publicists, don’t fight with your authors. Come on. That’s like publicity 101. You don’t have to do everything they say, but if you’re going to reject their ideas, at least do so in a way that explains why their logic is faulty and why you are always correct. It’s really not hard to have a friendly relationship, or, barring that, a cordial one.

And the #1 sign that your publicist may not be “The One”:
She told you that you would “absolutely, definitely be on Oprah” but doesn’t have a strategic plan to make that happen. Help create one! No use in sitting around waiting for something to happen if your “loved one” doesn’t have a plan, a goal or a CLUE. And remember, when it comes to publicity, NOTHING can be guaranteed.

OMG. HA HA HA. I can tell you right now, none of you will be on Oprah, especially if you write fiction. And if you are, it probably has nothing to do with me and some great "strategic plan." The book gods just happened to smile upon you.

—Ladytron

ps. Shameless Plug - if any authors are out there reading, and you need tips beyond the advice of Slunch, check out Bella's Book Promotion 101 workshop in NYC on May 17. Awesome PR Consultant (and one of the few outside publicists we DO like) Lauren Cerand is also a guestspeaker.

Why I Want to Hate Sloane Crosley…but can’t actually seem to

Every time I turn around, I see her name. Sloane Crosley. Publicist extraordinaire, author, all around perfect New York publishing success story. I should say first that I’ve actually interacted with Sloane before. She was pleasant, helpful, and overall very sweet. Her name was vaguely familiar to me at the time, but publicists run in small circles, so if you haven’t worked with someone before, odds are you have met her at an event or you know someone who has worked with her or she’s a friend of a friend. We’re a bit incestuous that way.

Somehow though, Sloane has started to invade the publicity circle in a way that I’ve never experienced before…she is everywhere. And everyone seems to have an opinion. Last month, she came up at three separate drinks dates I had. And opinions run the gamut: hatred, jealously, admiration, and – from some of the few straight men still daring to enter publicity - crushes.

I think it all started with the Observer piece, titled “The Most Popular Publicist in New York.” Now, I must confess, I don’t check the Observer everyday. I rely on Galleycat, Gawker, Pub Lunch, and my Goggle Alerts (I’m still trying to master RSS feeds – shut up. It seems hard) to provide me with any necessary links to any new publishing-related stories. So, I learned of Sloane’s new title from Gawker , which tore apart Sloane’s assertion that the suffered from “spatial dysphasia disorder.” Apparently, that’s not really a disease but whatever.

That’s hardly the point – at least from a fellow publicist’s point of view. I take issue with the entire tone of the article. First of all, author Leon seems a bit biased – as if he wrote this entire article in hopes of scoring a date. Yeah, yeah. Sloane is cute, clever, funny, and a joy to work with. Whatever. So am I. Once I’ve had my coffee. My hair is pretty shiny too, when I have time to wash it. Oh, and all of her authors LOVE her. So what? My authors love me too – they just happen to be less known. Sorry that I didn’t get assigned to Jonathan Ames and Joan Didion. But my author who sold 2,000 copies of his first book – well, he sent me a bonsai. Take that! I bet Toni Morrison never did that for you, Sloane.

So began the Sloane-hating. Than, this showed up – a little piece in New York Magazine in which Sloane endearingly acknowledged how over-the-top the Observer piece seemed, “If I read that about me, I would hate me – I would think I was an overhyped, overrated, smiley idiot.” Hmm, well….

Now, I felt torn. Here was a girl that was approached for an interview, and she gave it. It’s not her fault that Leon drooled all over the pages while writing it. Perhaps if someone had dedicated a piece to me (snort), I would also seem vapid and over-glorified. Perhaps she isn’t really a good publicist only because her only friends are media people that she uses to promote her books, while the rest of us have actual friends that we don’t use for professional gain. Maybe she doesn’t create a perfect social persona just so her boss will invite her to getaways on the weekend. Maybe she is just a sweet and talented person, and I’m just a bitter, jealous hack who doesn’t condition my split ends enough.

Oh, but we’re not done yet. While reading the Sunday Metro section a couple weeks ago, whose name should appear? Why, yes, dear reader: Sloane, in a charming essay about an epiphany she had on the bus . Um, what? This is a woman who is about to publish a collection of essays, based off some emails she sent to friends. She has received amazing blurbs and more pre-pub buzz than many bestselling authors. So I expect this sample of her clever and funny prose to be just that. Instead, I was left with a bizarre story about riding the bus in the snow, popping some woman’s arm into place, and somehow leaving with a feeling that balance had been restored. What? Could I write an essay about my experience on the subway the other day? It involved a realization of sorts too. When the N train pulled up one Sunday, the car that stopped in front of me was remarkably uncrowded. This was very exciting as I was guaranteed a seat so I could zone out and work on my crossword puzzle. It wasn’t summer, so it couldn’t be the AC was out. No worries. I stepped in, along with 5 other people, and as the doors closed, I realized with horror why the car was empty. Let’s just say, there was a woman passed out on the far bench, covered in her own shit. Yes, people, shit. I spent the next three minutes dry-heaving in the opposite corner until I could switch at the next station. Epiphany: Even in winter, don’t get in the empty subway car. Could I write an article about that?

This is the New York Times. We strive every day to get our authors some kind of coverage, whether in the Style section, a Modern Love column, the Book Review, ANYWHERE they might take us. And this publicist has written some crappy story about the bus and she makes it in? It makes me mad. I had two authors write beautiful essays that we rejected. I’ve pitched (in my opinion) some pretty creative feature pieces. Nada. But Sloane writes something…well, go right ahead and don’t forget to slap a big stock photo above it.

I walked into work today, and lo and behold. Sloane pops up twice before I’ve even had my coffee. Quoted in yesterday’s essay in the New York Times Book Review on romance and book taste and as the author of the Publishers Weekly Soapbox essay on, of all things, why book titles have become long…sigh. REALLY? Also, when I googled her to find these links, I can’t even tell you how many other pieces popped up. Apparently, Salon just did an excerpt from her book, Emily Gould interviewed her for Radar , and there’s an interview in the Kansas City Star . She even has her own Wikipedia page!

And, now, I realize – the problem is not Sloane Crosley. Sloane probably is a good person and a good publicist to boot. People do have very nice things to say about her, and that’s hardly her fault. And she’s not a bad writer. Most publicists aren’t. We have to have some kind of skill in a world of email pitching, and we certainly have to be creative if we want our emails to even get opened. And, if I had the opportunity (or the time) to write something worthy of being published outside of Slunch, I sure wouldn’t turn down the opportunity. So, I guess I can’t really hate her. However, I can hate on book media for the flood of Sloane-coverage. In a world of shrinking book coverage, where over 300,000 new books are published each year, and we are all fighting tooth and nail for a tiny mention, Sloane Crosley is popping up everywhere. Excerpts, essays, profiles. Give us a break, Sloane! Leave some space for the other authors. It’s hard enough.

--Ladytron

What's black and white and red all over and can't go through a revolving door?

We all talk about how the revolving door in publishing continues to spin, but i've never seen it spin faster than it does over at Gotham & Dutton. In the last year I've read in Pub Lunch about their publicists moving on to do great things at Random, Soho, S&S, Houghton, and an insider over at Penguin reports to us that the turnover is something like a person a month. DEAR LORD! How do they manage? All I can say that is if anyone can stick it out there, they've got serious cojones. That, or they can't find a decent job anywhere else.

-Slunchie

ps: the answer to the riddle is: A nun with a spear through her stomach.

listen to the sound of my tiny violin

It’s Sunday and I’m at work. Again.

That, in and of itself, doesn’t warrant a gold star – I mean, this is New York after all, but this week I’ve got two authors on tour for which I’m pitching local and national media; I have to write (and re-write) three press releases for upcoming books; pull media lists for four books; send out two publicity galley mailings and one finished book mailing; and write an acquisition announcement about a new title. I also have to do follow-up on books that released last month; secure long-lead press on eight titles publishing between March and June; and this list doesn’t include all the meetings I have to attend. Even though I’m only assigned three books publishing this month, I’m working on twenty. To top it all off, I’ll probably be showing up to work tomorrow with a hangover. There’s a party I’m expected to attend tonight.

Publicists by nature are social creatures. They party, gossip, and keep that famous revolving door rotating by changing houses more than any other position in the publishing industry, acquiring an incredible network in a short period of time. Nepotism is the name of the game and while it’s not uncommon for an editorial assistant to stay at that level for three years, a hungry publicity assistant can work her way up to senior publicist in that time.

Although publicity is the keystone for any successful book marketing campaign most companies don’t empower their publicists with all the resources and time needed to accomplish their tasks. Because of the shear volume of books publicists work on, they’re forced to make a decision about which books have potential and will warrant their limited time to aggressively promote, and those that don’t and will get the bare minimum of attention.

Publicity is the keystone that supports the marketing, sales and ad/promo campaign, and has the ability to reach critical mass, which, in an ideal world, can “make” a book. As each placement (which can take weeks of phone calls, letters, and creative pitching to secure) catches the eye of another reviewer or booker, it will result in more hits and, ultimately, more books sold. But really, without that one big break – Fresh Air, The Daily Show, a feature in The New York Times or the holy grail of publicity (which every author believes to be within reach): Oprah – a book is basically treading water unless the elusive “Word of Mouth” grabs hold or it becomes the darling of independent booksellers.

If you think about it, for the price of a full page book ad in the New York Times (which I feel is nothing more than vanity placement for an author and a transparent marketing ploy to get stores to order more books) a publisher could cover the salary of an additional assistant and a publicist who could dedicate an entire year to pursuing every single possible outlet to promote the very same title.

Publicity is a thankless job. It requires handling rejection on a daily basis from reviewers, feature editors, bookers and producers. On top of that are the demanding agents, authors and bosses. Many a time I’ve been asked “What else?” when I already have several major print features, national television and radio interviews lined up. The thing about publicity is that you are never truly finished. There is always a review to secure, a feature to place, a show to book. Active publicity on a book doesn’t end; it just slowly dies out as time goes by.

Fortunately a few of my authors understand what I can do for their book and have seen fit to bestow upon me gifts. These tokens of gratitude make all the difference to a publicist bereft of appreciation, and ensure that they will put that author’s book at the top of his or her mile-long list. It’s Pavlovian really, nothing more than a bell and a tasty treat, but when the treat is a bottle of single malt scotch, it makes all the difference in the world.

-Publitron