The following is an E-Panel of Publicists. They are frequently some of the busiest people in the business and seemingly know everything that is going on within the industry, both inside and outside the companies they work for.
Those participating in this E-Panel are:
Darlene Faster – Shaye Arehart
http://www.randomhouse.com/crown/shaye.html
Michael Taeckens – Algonquin Books
http://www.algonquin.com
Ami Greko, publicity assistant – Viking
http://www.penguinputnam.com/
Dan:
Hello there, thank you for agreeing to spend some time answering questions about yourself and publicity in general.
Darlene Faster - Shaye Arehart:
Thanks for the opportunity, Dan!
Michael Taeckens - Algonquin Books:
Thank you.
Ami Greko, publicity assistant - Viking:
Hi Dan, thrilled to be asked.
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Dan:
Let's start by asking how you ended up being a publicist, and specifically, how did you become involved with the company you're currently with?
Darlene Faster - Shaye Arehart:
I think most people have a somewhat roundabout journey to publicity. I was in banking for a number of years (too many!), and started at Crown five years ago as an assistant. I've always had a love for reading and a passion for books, and a job in publishing seemed like the perfect fit. I've been focusing on our growing fiction list @ Shaye Areheart Books (an imprint within Crown) over the past year, and it's been really exciting to be part of that initiative. Crown has an eclectic list of titles, so I've been lucky enough to almost always work on books I genuinely enjoy.
Michael Taeckens - Algonquin Books:
My love affair with publishing began when I interned at the University of Iowa Press while a graduate student at the University of Iowa. I mostly proofread, but it’s a small press so I was able to interact with everyone and learn how the different departments work together. About six months before I got my MFA I applied to various university presses and eventually landed a job as an editorial assistant at UNC Press. After two years working in editorial, I realized that where I really wanted to be was in publicity. I again applied for jobs at various presses, and ended up landing a position at Duke University Press, just one town over from Chapel Hill. Two years later I moved over to Algonquin Books, where I have been working for the past five years.
Ami Greko, publicity assistant - Viking:
Well, like most people in the publishing world, I began by being an absolute fiend for books. After college, I knew I wanted to work in a publishing house, and I was certain I wanted to live in New York, but those ideas turned out to be a pretty tall order for a girl fresh from getting her creative writing major in Kalamazoo, MI. After working as a copyeditor at a scientific journal in Boston for a couple years, I lucked out and discovered a publishing course run through Columbia University. When I started classes up there, I thought I wanted to be an editor--which is really what is great about the Columbia program, it lets you try out all of the positions at a publishing house--but then I realized that if I were a publicist, part of my job would be to read all the magazines and books and newspapers I could get my hands on, rather than all of the unsolicited manuscripts I could get my hands on, and publicity started looking pretty good to me. My current job came through a connection at the Columbia course.
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Dan:
Are there a certain set of skills that you believe are needed to be a good publicist? What about a certain level of education?
Darlene Faster - Shaye Arehart:
It's tough to pin down skills for the "ideal publicist," but in general you need to be a self-starter with a lot of enthusiasm and drive. It's most important for the person to work well under pressure, juggle a number of projects effectively at once, and know how to prioritize. The best publicists I've ever know are Type A (in a good way) with close attention to detail, since we're always keeping multiple author schedules, media changes,
and running to-do lists for each book in our heads all at once. There is no formula for publicity (wouldn't life be nice, though boring, if there was), but a mix of the qualities above is usually a good indication of a person's ability to handle, and actually enjoy, the key aspects of the day to day. Of course, being a great writer and having a passion for books are two key aspects to working successfully in publishing.
Michael Taeckens - Algonquin Books:
I don’t think a certain level of education is necessary, although if you are working with literary books, it’s important to be well read in both classic and contemporary literature. It seems that most people in publishing are voracious readers and were led to publishing by virtue of their love for books. While this love won’t guarantee that someone will succeed at being a publicist (or an editor, marketer, or designer), I think it’s a key component. As a publicist it’s crucial to have excellent communication (written and oral) and organizational skills, the ability to juggle many different tasks at once, and the type of personality that lends itself well to talking up books in an enthusiastic yet natural, organic way (which is why a love of books is important—it then doesn’t seem like hard work when you’re promoting something you care so deeply about).
Ami Greko, publicity assistant - Viking:
Well, I should probably stress here that I'm very new to publicity--I'll just have been in my job a year in August. But it seems to me, from watching people who have more experience than I do, that being incredibly aware of the media is important, both the kind of media that is a natural resource for publicizing books and the kind of media that is maybe more of a stretch. All of the publicists I admire the most have a great sense of what's going on not just in literary journals or the New York Review of Books--which are both great sources of information and important to know about--but also can have a really great conversation about music, or they can tell you about the show they just went to see at MOMA. I feel like Lauren Cerand, who you interviewed for this panel last week, has a blog that is a great example of this. I read her blog and figure out what I want to read and what sunglasses I'd like to wear. I do believe that somehow it all comes together when you are working on a book.
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Dan:
If you replaced an individual, were there any specific changes that you made to the methods of getting publicity for your writers?
Darlene Faster - Shaye Arehart:
I "grew up" at Crown, so my moves have always been made internally with a lot of support. My most recent position with Shaye Areheart Books has been a great experience, because I've had the leverage to implement different and creative methods of promotion. Fiction requires special focus and dedicated research to generate buzz and excitement. Experimenting with new outlets (like lit-blogs, journals, and book clubs) and less conventional event formats, has been a wonderful learning experience for me and definitely expanded my understanding of how to best promote a book to a literary
audience.
Michael Taeckens - Algonquin Books:
I didn’t know the previous publicity director, so I can’t really address this. But I did come in and re-organize everything to fit my own and the department’s needs. I think you can take a dozen publicists and they can show you a dozen different –and equally viable—ways of doing their jobs.
Ami Greko, publicity assistant - Viking:
Since I'm so new, much of this year has been spent learning the publicity ropes a bit--just starting on the basics of setting up an author tour, learning how to effectively pitch, things like that. Any changes would really be more of a matter of how we attack the same tasks.
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Dan:
How close to being an 8 hour a day/40 hours per week job is it?
Darlene Faster - Shaye Arehart:
I don't think that type of schedule exists in publicity. We do spend many hours in the office planning, organizing, and pitching, but our days often go outside the normal 9-5 day. We are up @ 5am when authors have radio or TV satellite tours and we're out till 11pm on nights when there are events. Weekends and holidays fall under the work week as well, when an author is on tour or in town for media, and we travel frequently with authors when they are on the road. That's all part of the experience, though. I think
we're in this because we love the pace and we love being so involved in the process
of bringing books to a wide readership.
Michael Taeckens - Algonquin Books:
I think it’s typically much more than that, especially when you factor in the reading of manuscripts, the writing of PR materials, attending events, etc. As for pure office time, it could easily be over 50 hours a week.
Ami Greko, publicity assistant - Viking:
To continue the meme I'm trying to start here, I do think that publicists are kind of always working. Usually, when I read a magazine or listen to the radio or even sometimes when I'm watching non-reality TV, I'm thinking about how I could use this media to promote my books, getting a better sense of what books would fit with their sensibility. The beginning of any publicity campaign is actually reading the book, which doesn't get done at the office. And author events and television appearances often happen after five pm. A part of me thinks that qualifying reading or going to author appearances as work is sort of ridiculous, since these are the ways I'd be spending my time anyway. Or maybe I just lucked out and got a perfect job? Who knows? As to time spent directly in front of a computer or on the phone at my desk, though, it's probably around 40 hours a week, but I do think the job occupies my brain for much more of the week than that.
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Dan:
Some of your writers probably have established audiences - when you are trying to garner publicity for a new work by them, how much of your efforts go towards that established audience, and how much goes towards finding a new audience?
Darlene Faster - Shaye Arehart:
This is usually a case by case situation, but the majority of our time is spent building a readership. Often it depends on how much the authors platform will influence the audience for his/her new book (i.e. are they different subjects or do they build upon previous works). Established audiences are considered the core market for a given author, but the hope for each new book is to expand that base.
Michael Taeckens - Algonquin Books:
I think it’s important to always cover an author’s established audience and to simultaneously reach out to other groups, in an attempt to broaden the audience as much as possible. There’s really no end to publicity, which is one of the qualities that makes it so rewarding—you can always find new people/places to pitch a book.
Ami Greko, publicity assistant - Viking:
That's a tricky question to answer, because I think it's different for every book. Let me tell you about my favorite experience with this. I had a fantastic book to work on last March that was about American cooking habits back in the 1950s. It was everything I love in a book: funny, smart, insightful, with a strong feminist twist. The book originally made a huge splash with the mainstream media and received great publicity all around. Since the original publicist had done so well with the hardcover, I got to play around a bit with the paperback publication, and send the book to into new venues, like cooking blogs and some of the magazines I love, like Bust and Bitch. It was great to be able to build on such a well-made campaign.
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Dan:
We keep hearing how much more responsibility is being put on the writers themselves in terms of publicity. How do see that this has changed in recent years?
Darlene Faster - Shaye Arehart:
The public is much savvier to media influence and publicity today, which means it takes much more to get their attention. One national hit no longer has the kind of widespread impact it did five years ago. Authors often have a wealth of information on how to reach their core fanbase or a specific untapped group that would be interested in the topic they explore. We encourage author web-sites, when it makes sense for the book, and we
work very closely with author's contact lists/ platforms to build enthusiasm and support. Blogs have become increasingly important over time, and some authors have started creating their own or reaching out to subject-specific bloggers to get the word out about their work. It takes a carefully executed plan, with outreach to multiple media outlets (regional, national, local, etc.) to make any book a success. Authors are partners in this effort, but it is our job to guide them in the right directions.
Michael Taeckens - Algonquin Books:
I think it’s quite nice when an author works in tandem with his or her publicist. For instance, one of the best things an author can do is to try to publish as much work—magazine articles, op eds, stories, reviews, etc.—as is possible. All of this greatly contributes to an author’s visibility. And I think it’s fantastic when authors promote themselves, whether through building their own Web sites, mailing out postcards, or spreading the word as much as possible to their own network of friends and colleagues. But it’s really the publicist’s responsibility to take on the main tasks—chiefly, pitching to the media (I firmly believe authors shouldn’t do this on their own, unless they don’t have a publicist at all), sending out advance review copies and finished books, arranging tours, writing press materials, etc. Ideally, there should be a spirit of collaboration between the author and publicist, both checking in with each other regularly to give updates.
Ami Greko, publicity assistant - Viking:
Well, I can't speak to how this has evolved, really, but I can say that in my experience authors have been incredibly helpful in terms of publicity. It can be something as simple as listing the publications they generally read or that they think would be a great fit for the book. It's probably pretty safe to say that I'm not as well educated about any topic as someone who has spent years researching and writing a book about it. So if I get to work with an author who has written a book specializing in a sort of science, or in a particular field of inquiry, the kind of insight they can provide is just invaluable. And then I get a crash course in espionage or cruise ships or whatever, and by the end I get to be a little bit of a specialist. It's kind of a win-win.
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Dan:
What percentage of the writers you have to work with balk at this notion, or are at the very least reluctant to spend much time out there doing publicity?
Darlene Faster - Shaye Arehart:
Most writers are more than happy to be part of the process, especially if the publicist educates them on opportunities and helps them to understand which hits will have the strongest impact for their book. Some authors are reluctant to do media either from negative past experiences or because they are uncomfortable in the limelight. That is the exception, though. For the most part, authors understand that interest cannot be created in a bubble. Readers want to relate to the writers as much as the work, and authors are the biggest asset in getting the public interested in a book.
Michael Taeckens - Algonquin Books:
Of course, there are some writers who really don’t want to take time away from their writing to do anything else. But most writers are more than happy to go on tour and are eager to do anything they possibly can to help their books, which they have put so much time and energy into creating. Fiction authors, in particular, are savvy enough in this day and age to know that if they want their literary novel to succeed, they have to contribute—on some level—to promoting their work. It’s a fiercely competitive business, unfortunately. There are just too many novels and not enough readers/buyers out there for an author to not want to help out.
Ami Greko, publicity assistant - Viking:
My authors have been fantastic. The house does have a couple of literary heavy hitters who generally refrain from doing any publicity at all because it's not really necessary, but all of the writers I work with are enthusiastic about getting their work out there.
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Dan:
In the past, I've received both full press packets, and just books with the press release from most of you. How do you determine when to send which?
Darlene Faster - Shaye Arehart:
Again, there is no hard and fast rule on this. We keep the full-fledged press packets to a minimum in our group, b/c the word from the media is that less is more. Press materials should really offer something that the editor/reviewer wouldn't know without our help (a back story to a fiction work, an extended bio/list of credentials for a business/political
author, a Q&A that gives more detail, etc.). There is such a thing as too much information when we are dealing with inundated editors and producers, so it's
important to highlight what will be most relevant to their interests.
Michael Taeckens - Algonquin Books:
Pres releases and press kits serve different purposes, and I think both are viable promotional tools. I tend to use a press kit if there are a variety of different materials I want a reviewer/producer to see. For instance, when planning the publicity campaign for Steve Almond’s memoir CANDYFREAK, I had a ton of materials I wanted to include, including top-tier media interviews and reviews of his first book of short stories; a press release, talking points, and interesting facts sheet; Steve’s essay about the writing of CANDYFREAK; and some choice photos of Steve eating candy. I also recruited our in-house designer to create special folders. Most of the time, a book is served just as well with a two-sided press release, occasionally with some previous reviews or material attached to it. Ultimately, it’s not so much what you send with the book as how you pitch it to the media.
Ami Greko, publicity assistant - Viking:
In my opinion, it has a lot to do with the reviewer. Some of the people I work with like to receive loads of information about the book, while it's much easier for others to just be able to check out the book with as little interference as possible.
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Dan:
Looking at various forms of media - how do you go about marketing the book via newspapers?
Darlene Faster - Shaye Arehart:
Newspaper coverage is a key part of any publicity campaign. Off-the-bookpage
coverage is an important piece of the puzzle, because it gives editors the opportunity to explore a topic/author in more depth and obviously gets the book more space on the page than your average review. We often focus on back stories and interesting side information to garner feature pieces. There is less chance of a wholly negative piece with a feature (for the most part), and I think readers are more likely to read a whole profile than a review (which most people skim just to find out if it is positive or negative).
Michael Taeckens - Algonquin Books:
It depends on whether the book is fiction or nonfiction. For fiction, I send review copies to all the book review editors at top-tier newspapers, whom I pitch to on a regular basis. For nonfiction, I will send to the book review editors plus whichever editors seem appropriate (for example, if it’s a book like Richard Louv’s LAST CHILD IN THE WOODS: Saving Our Children from Nature-Deficit Disorder, I would include nature/environmental, parenting, and education editors).
Ami Greko, publicity assistant - Viking:
Newspapers might be easier to work publicity for, since there's an established way of getting books attention. Usually, there's a book review editor at the newspaper, although some smaller papers just publish reviews off the AP wire. So a copy always gets sent to the books editor, and then you can go a little wild with the other reporters or editors you send it. This can be where being very familiar with a paper comes in handy--the better you know what different reporters tend to cover, the more specific you can get in sending over the book. It's a lot of fun.
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Dan:
How about via the internet?
Darlene Faster - Shaye Arehart:
The internet has become more important over time, especially for political topics and genre-specific books. The T.V., radio, and print media often use specific sites to get a handle on news and issues that are generating public discussion. There are a number of key sites with strong traffic that can really break-out a book with the right coverage. And these outlets don't have the "space constraints" that book review sections and magazines
often do.
Michael Taeckens - Algonquin Books:
I hit up all the usual targets (mostly Web-only media like Salon, Slate, Daily Candy, etc.), plus all of the great literary blogs. And depending on what hooks or handles the book has, I will do Web searches and see what other media or target groups are out there that I can approach.
Ami Greko, publicity assistant - Viking:
I might have a different take on this than other people, since I came into the publicity department already a devoted litblog reader and kind of internet obsessed. It seems natural to me to work with websites and blogs as much as possible, since they're something I read every day and a great source of information for me. I always send out requested books to websites and blogs, and I try to send along books that bloggers might be interested in based on what their posts have been about. I also let bloggers know when I have an author in their area, just because I know they enjoy a good reading as much as I do. Not to sound all starry-eyed, but I am really pulling for sources on the internet to start bringing huge groups of people to undiscovered novels. I have high hopes for these sites.
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Dan:
What about radio - is that a viable media for publicizing books?
Darlene Faster - Shaye Arehart:
NPR and their affiliate stations are wonderful vehicles for generating excitement about a book, because their listeners also happen to be avid readers. There are smaller stations across the country that don't have as strong of an impact, but may be worthwhile for the right book. Drive-time radio and morning zoo shows usually only work well with celebrity authors or pop-culture topics, but there are subject-specific shows that can
really move the radar for the right book, especially for political titles. Literary-focused radio shows continue to pop up in large and small markets. One of the hardest parts of a publicist's job is keeping track of which shows make a difference and which ones only work for certain topics. This is really a full-time job across all media outlets, and the more knowledge a publicist has about publications/ shows, the more effective they will
be.
Michael Taeckens - Algonquin Books:
Absolutely. Radio is incredibly important, especially NPR, which I think often sells more books than TV shows. There are tons of different national NPR shows (Morning Edition, All Things Considered, Day to Day, Talk of the Nation, to name just a few) that air to a passionate, educated, book-buying public. And you have Pacifica stations, and your garden variety commercial stations, drive-time shows, NPR affiliates in different cities, etc.
Ami Greko, publicity assistant - Viking:
Radio is of course a valuable resource for publicizing books. Right now, though, is a pretty weird time for radio, because there are a lot of stations in flux. You've got Air America, the lefty radio station which just launched last year, then there's the satellite radio stations gaining momentum, and this is all happening at the same time that NPR is facing insane budget cuts. I'm a pretty big radio geek from my time at a college station, so I tend to pay a lot of attention to author appearances on NPR and others. I also like the way it can really allow an author to relax and have a long conversation about his or her book, rather than the shorter pieces you can sometimes get with television.
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Dan:
Some of the best reviews I've read have been in literary journals - I would see those as good because you obviously have a reading audience seeing them, but not that many people would see them. How often do you look at those as a means of getting the word out about one of your books?
Darlene Faster - Shaye Arehart:
For the right author, these journals are an invaluable part of the publicity campaign. Many of them are quarterly and work farther out than our average lead-time, but they are a great way to reach writers and readers who value quality fiction and want to know about new authors on the scene. These journals are also more likely to give wider coverage for an author, and can be a great way to seed interest from other publications. Since these are usually small circ. publications with limited space, I am very careful
about the books I choose to pitch to them.
Michael Taeckens - Algonquin Books:
There are a variety of literary journals that I will send review copies to, primarily of literary books or, if the editor has sent in review copy requests, other titles. I think it’s an important way to let literary aficionados know about what new books Algonquin has to offer. We also publish the popular annual anthology NEW STORIES FROM THE SOUTH: THE YEAR’S BEST, which culls its stories from these literary journals. And of course many Algonquin authors regularly publish their stories and essays in literary journals.
Ami Greko, publicity assistant - Viking:
Literary journals are definitely a tool. But I think the important thing to note here is that I always try to use everything at my disposal to get the authors coverage.
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Dan:
For those that this can apply to - do you attack getting publicity for a non-fiction book any differently than for a work of fiction?
Darlene Faster - Shaye Arehart:
Absolutely. Non-fiction often links to a current events hook or a niche audience for publicity. It is not necessarily easier to pitch non-fiction, but there are more defined audiences and media outlets for them most of the time (cookbook/decorating titles/ business books/ self-help titles all have specific media contacts who cover those topics, a breaking news story ties directly into a book and generates interest, an author is viewed as an expert in his/her field and sought out for advice, etc.) Fiction is much harder to
pinpoint, and you are asking the media to not only "get" the topic, but to read and love the book. It's quite a commitment to make with tight schedules and a lot of competition, which is why fostering good relationships w/the media and building trust are vital to a publicist's success.
Michael Taeckens - Algonquin Books:
Nonfiction books often have a variety of hooks or handles, which often make them easier to pitch to wider audiences. The level of enthusiasm is the same, you just have a wider group to reach with nonfiction.
Ami Greko, publicity assistant - Viking:
Oh yeah, they are totally different. There is a much larger group of television, radio, and print sources interested in non-fiction books. I hope that this will change in the coming years, and I see places--like the Lit Blog Co-op or Nancy Pearl's television show in Seattle--working to change this, but unfortunately, it seems to be how the media tilts. This doesn't mean that if you're a fiction writer, your publicist can't get you great coverage, just that the pitches are really different.
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Dan:
How about any differences between getting notice for a novel versus a short story collection?
Darlene Faster - Shaye Arehart:
Unfortunately, short story collections do have a sort of stigma attached to them. Some of the best books I've ever read were written in the form of short stories, and I think that recent successes have helped to open a few minds to their value. Still, it is a difficult push, but one that I think is well-worth the effort for launching the careers of many top-notch writers. Again, focusing on off-the-bookpage angles and alternative media
outlets are a great way to build buzz and interest.
Michael Taeckens - Algonquin Books:
It’s tougher getting publicity for short story collections, but generally they are pitched the same as novels. A debut short story collection—like the forthcoming HOPE AND OTHER DANGEROUS PURSUITS by Laila Lalami, who runs the fantastic literary blog MoorishGirl.com—often announces the arrival of a new literary writer, and hints that a novel is soon to come.
Ami Greko, publicity assistant - Viking:
I haven't had a chance to work with a short story collection, which is a huge disappointment of mine. If I lived in a perfect world, the majority what was published would be short story collections, I just love them so much. I also think that short stories are what people want to read, they just don't know it. A lot of my friends who are so busy they really don't get a chance to read as much as they'd like, I see them just punishing themselves with their reading selections. They're hauling around Moby Dick or Infinite Jest in their messenger bags, giving themselves bad backs, because they get to read so infrequently that they want to make it count, they want something that everyone will consider significant. But reading Melville in 20 minute bursts on the subway isn't all that satisfying, so they decide they don't have time to do it very often, so when they do read it needs to be significant....and the circle of self-punishment continues. These people need short story collections! This ought to be a public service campaign.
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Dan:
Assuming you got into this line of work because of a love of reading - do you still get to read much material that does not come from your press or clients?
Darlene Faster - Shaye Arehart:
I don't think you can stay in publishing for long if you don't love reading! As a publicist, it is important to read more than just the books we publish, for fun and to get a sense of what else is working in the marketplace. I am always reading two books at once - one for work, and one for pleasure, though they both often fit the latter category. I commute, which gives me quality reading time, but I spend many nights reading well past my bedtime to finish books I just can't put down. The best thing about working in the book
industry is that you are surrounded by people with great recommendations for what to put next on your list!
Michael Taeckens - Algonquin Books:
Yes. I read everything that Algonquin publishes, plus many contemporary books from other great literary houses. Publicists have to keep up on all of the media, especially book reviews, so I always have an ever-expanding list of books I want to read. I would say I regularly read about a book a week (as well as the New York Times every day, Entertainment Weekly, Salon, and about a dozen other magazines), in addition to what I read for Algonquin.
Ami Greko, publicity assistant - Viking:
I have to say that the most significant development in my life since starting in publishing has been that I always have something to read on the subway. It's impossible to overstate how wonderful this is.
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Dan:
Do you ever do any networking with other publicists - share media sources, or anything like that?
Darlene Faster - Shaye Arehart:
My department is very close, and we all work together to brainstorm angles, pitches, and media outlets. There isn't as much networking with outside publicists as I'd like, but I do have close friends in other houses. We often share experiences, advice, and yes, the occasional horror story!
Michael Taeckens - Algonquin Books:
I have an e-mail list of publicity friends and contacts at other houses and occasionally I’ll send out a query. Generally, everyone is more than happy to help out, if they aren’t swamped at the time. I’ll also share info. with a publicist who is working on the paperback edition of a book that was published by Algonquin in hardback.
Ami Greko, publicity assistant - Viking:
I do love to talk shop, and I love free drinks. So I guess I do a lot of accidental networking. But I have yet to share sources with anyone in a formal way.
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Dan:
Knowing the publishers that you all work for, I'm assuming this is pretty rare, but how often do you have to do publicity for a book that you really don't care for? Is it any harder for you to do so than for books you really love?
Darlene Faster - Shaye Arehart:
Our Publicity Director is very sensitive to individual interests and enthusiasm, and makes sure people are working on books they genuinely like. This makes sense, because the more passionate someone is about a book, the more likely they are to give it their all. Crown publishes a diverse list, so there is literally something for everyone in any given season. As I said earlier, I've been very lucky to work on books I truly care about and
want to succeed. The best way to effectively pitch a book is to focus on the points that resonate with you or will resonate with the audience and stick to the truth (media people can smell fake enthusiasm from miles away). You can't say every book is "great," but there is something unique and worthwhile about each one that will help you get the attention it deserves.
Michael Taeckens - Algonquin Books:
I really love all the books we publish, for different reasons. There may be an author who is difficult, or the book may be cover a subject I’m not particularly interested in, but I’ll always find it rewarding pitching the book and trying to land as much coverage as I can.
Ami Greko, publicity assistant - Viking:
Once I get involved with a book and with a writer, it's impossible for me to not care for a book. In the grand ranking of professions that I keep in my head, being a writer falls just below rock star, so I tend to get very involved in my projects.
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Dan:
What lessons learned do you think would be most important in passing along to anybody who was thinking of becoming a publicist?
Darlene Faster - Shaye Arehart:
Know where your interests lie and do your homework! Publicity can be tough, and you need to want this experience in order to succeed. Don't let the bad days get you down, because we've all worked hard on projects that didn't quite make it. Be positive and creative with the media, and find the potential in each new project. You are the author's voice to the public - they are trusting you to represent their book with enthusiasm and
honesty. It takes a lot of work to break out a book, but the rewards ARE worth the
effort. It will make your job easier and much more fun if you take the time to really understand the book's message and figure out two things at the very beginning: who is the audience for this book and how do I reach them most effectively? Most importantly, be honest with yourself. If you are using publicity as a stepping stone to another field such as editorial or to become a writer yourself, you'd be better off using your time to get a
position directly linked to those fields.
Michael Taeckens - Algonquin Books:
If you have a natural enthusiasm for books and like the idea of spreading buzz, then by all means join the club. It also helps to have a thick skin and a great deal of energy to promote books day in and day out.
Ami Greko, publicity assistant - Viking:
Well, again, I'm new to this, but I guess I would suggest trying it out for a little while before deciding. See if you can learn to love it when the phone rings. See if it is really fun for you to get super excited about the launch of a new magazine and to take it personally when Congress cuts funding for NPR. I think there's this perception that once you start a career in the publishing world, it's very difficult to switch paths (ie, it's hard to move from editorial to publicity, or vice versa), but in my (limited) experience people are very accepting of changes, especially after the first year or two.
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Dan:
Thanks again for sharing so much valuable information!
Darlene Faster - Shaye Arehart:
Many thanks for providing this great forum to share ideas, Dan.
Michael Taeckens - Algonquin Books:
Thanks, Dan!
Ami Greko, publicity assistant - Viking:
Thanks for asking me such interesting questions, Dan.
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