Rethinking the Author Tour
May 10, 2012Upon publication of a book, many authors begin to fantasize about the wildly successful book tour they wish to embark on, envisioning miles of lines of eager readers and hours of engaging conversation. Unfortunately, that’s just not the case in most scenarios. We generally advise authors that a book tour should not be on a top ten to-do list when it comes to marketing a book. For those authors with large platforms and extra resources, however, a book tour can still make a lot of sense.
Especially if it’s done right. Having frequented more than my fair share of bookstores, I can say from personal experience that author tours are evolving. A 30-minute reading followed by a signing just won’t cut it anymore. And for good reason.
While working at a bookstore, I witnessed quite a few of these old-school book signings. One particular author started her reading with a small, mildly interested audience. When she was done she only had three audience members, none of whom were from the original group, and they seemed more excited about finding available chairs than listening to her reading. Afterwards she sat at a table for almost three hours and sold only one book—to the store manager.
Needless to say, the author didn’t reap any benefit from her reading and it’s unlikely that the bookstore will agree to host her a second time. An author’s worst-case scenario.
On the other hand, here’s a best-case scenario that hasn’t even happened yet, but that I’m already excited about. Sci-fi and fantasy author Neil Gaiman and his wife, musician Amanda Palmer, are going on tour together. They created a vague, goofy and charming video to build awareness and raise funds to help them book larger venues and print merchandise in advance. (Side note: There are posters and they look amazing.)
Gaiman and Palmer’s Kickstarter campaign not only fueled buzz about their tour, but it convinced 3,873 people to donate a combined total of $133,341. Now, even if you aren’t a well-established, multi award-winning writer who is married to a rock star, you can take a few lessons away from Gaiman and Palmer’s tour strategy.
1. Do your own promotions. Hopefully the bookstore will advertise for your event by putting signs in the store and notices on their website, but there’s no guarantee this will happen. So advertise on your own website, your blog, Twitter, Facebook and anything else you have access to. Make sure everyone who likes you knows what’s going on, where and when the event will take place. No one wants to or should ever bank on opportunity sales – sales that just stumble by and decide they want a book. Attracting random shoppers is possible, but those readers will be much more likely to join a crowd of entertained people than to sit in an empty group of chairs.
2. Plan something truly interesting for your audience. Come prepared with a presentation, speech, or something else that will keep your audience captivated. While you can do a brief reading, that should never comprise the bulk of your time. Similarly, Q&As are great, but don’t rely on them. What’s interesting to readers is the information authors can provide that we can’t get anywhere else. If you want to try something new, come with questions for your audience. What did they like (and, if you’re brave and thick-skinned, what did they not like)? Are there things they want to know more about? What made them pick up your book in the first place? Their answers will provide some of the most insightful and accurate market research on your book, and it will keep the audience interested and engaged.
3. Have the basic Q&A answers ready beforehand. Where did you get your inspiration? How hard was it to get published? Did you meet with a lot of resistance? Who are your characters based on? How did you get started in your field? All of these are common questions at author readings, so be ready with the answers so you can keep the event moving at a swift pace.
4. Bring back-up in the form of a colleague or talented acquaintance. Gaiman’s event won’t just involve him reading an excerpt. He’s bringing someone with him who will draw her own audience. If you have a friend, colleague or acquaintance who can reach a different crowd and even slightly relate to your topic, bring him and make sure he advertises to all of his fans as well. This is also helpful because it attracts additional business to the event, making the venue more likely to host you again and support you in the future.
Much like publishing a book, going on a book tour is a marathon, not a sprint. In order to have a successful event you need to take the time to promote your appearance, prepare in advance, and wow your audience. Don’t be afraid to get creative and start a Kickstarter or IndieGoGo campaign, if appropriate. The most important thing to remember is to make your reading more than a reading. Give people a reason to show up, stay, and, hopefully, become lifelong fans of your work.
Happy Pub Day!
May 1, 2012
We at Greenleaf Book Group would like to take a moment to congratulate our authors who have books coming out this May.
Do It Well. Make It Fun. by Ronald Culberson
Hear Your Life by Melissa Rodriguez
The Questions and Answers on Disability Insurance Workbook by Tony Steuer
This Land of Strangers by Robert Hall
Straight Talk About Crooked Teeth by Dr. Kent Lauson
Leading With Honor by Lee Ellis
Sweet Relief From The Everyday Narcissist by Melissa Schenker and Tina Moody
Well done! All your hard work and dedication has paid off, and we’re honored to be partners in your latest and greatest work.
Is Bigger Really Better?: Embracing the New Retail Reality
April 26, 2012There once was a time, not so long ago, when book buyers had bigger budgets and publishers and distributors could reasonably count on being given a not-so-insignificant amount of shelf space in what was a very large and spread out network of competing bookstore chains. If a particular book was not well-received by the buyer at one chain, you had options for moving big numbers in a small amount of time through the decision of another buyer with another big retailer. By the same token, if the buyer at one chain absolutely loved the book, that information could be leveraged in a major way with the buyer at another chain. Strategies like this could often lead to even bigger buys and sometimes a spot in the highly coveted co-op space in the store.
We recognize the important role that indie stores, nontraditional outlets, and online retailers like Amazon are continuing to play in our industry but we are not going to address those accounts here. This is about giant bookstore chains in the brick and mortar world. And in that part of our book-selling world, things have changed. Smaller is the order of the day and that begs the question, is bigger really better?
Back in the day of bigger buys and big-time bookstore distribution, prepublication efforts were rightfully targeted heavily at the retail buyers. After all, those individual buyers held a ton of power in regard to the potential for sales success of any book. Now that the number of chains has dwindled, that power is even further concentrated and potent. Or is it?
If you think your only shot for success is to get massive amounts of product placed on bookstore shelves, then a retail buyer’s power is more potent than anything else you’ll be up against. If, however, you consider the new retail reality and learn where you should be focusing your efforts—on you—it won’t really matter what that buyer does or doesn’t do with your book.
The reality of this retail landscape is that you cannot put the emphasis on bookstores because, frankly, their numbers are dwindling, their budgets are shrinking, and their buys are getting smaller and smaller. Besides, simply the act of placing books on their shelves alone is not the answer. Never was. (More on that here.)
It is always easy to get excited about a really big buy from a really big retailer, and there are still many reasons to get excited about it. It shows that your book impacted the buyer so strongly that they are willing to spend lots of budget on it and they ultimately believe in their qualified opinion that your book has what it takes to sell. So, what’s the down side?
The flip side of the big-time buy in scenario can be a big-time return scenario down the line. Don’t forget that this part of our industry is essentially consignment so any book that doesn’t sell fast enough is subject to being returned for a full refund, and sometimes comes back damaged to boot. When you put a ton of inventory out there, there is a high risk of returns and if you are solely focusing your efforts on impressing the retail buyer instead of your reader, you may be setting yourself up for this outcome.
These days, we have fewer buyers to impress and they have less money to spend. The unavoidable outcome, therefore, is smaller buys. Less exciting at first glance, but could this really be in our collective best interest?
Smaller buys mean lower risk for everyone involved. Let the bookstores start small, sell what they buy, and order more. It’s a long-term strategy that will help you immensely in building something much bigger than one book that gets its 30-90 day run on a bookstore shelf.
What is this bigger thing an author should be pursuing, then, if not sales of his or her book? We’ve always known that creating demand among your audience was paramount to all other pursuits in order to sell books, but the socialization of the web and the ease with which your competitors can get content out there for sale right next to yours has changed the game. It’s no longer just about your book. It’s about you.
You have to focus your efforts on your audience, your reach, your visibility, your brand, your expertise, and your content in all its various forms. You have to focus on you and sales of the book and your other services will follow. You have to build a platform and make that, not a spine out position on a shelf, your primary target.
So, what is an author platform and why do you need one? Learn about that in our three-part series on platform development.
An Overview of Awards for Independent Authors—Summer 2012
April 17, 2012You’ve worked day and night writing, editing, promoting, and selling your book—isn’t it about time you received a little recognition? We think so! That’s why we’ve gathered some of the best upcoming industry awards for independent authors here on the Big Bad Book Blog.
Awards are a great way to gain recognition and visibility, and they just might boost sales and confidence, too. Best of luck! And remember: It’s never too early to start reorganizing the mantel to make room for your many imminent awards.
Deadline: June 15
Genre: Fiction; Nonfiction; Poetry; Young People’s Literature
The National Book Awards are prestigious accolades administered each year by the National Book Foundation. A $10,000 award is given in each of four categories—fiction; nonfiction; poetry; and young people’s literature. Four finalists in each category are also awarded a $1,000 prize. Note that authors need to submit their pieces through their publishers, and publishers are required to submit $1,000 to a promotional campaign if their book is considered a finalist. Though the submission barriers are somewhat steep compared to other awards, winners include the likes of authors such as Alice Walker, Joan Didion, Gore Vidal, C.K. Williams, and many others.
Deadline: June 15
Genre: Short Stories, Novel Excerpts, Poem, One-Act Plays, Graphic Stories, and Literary Nonfiction
Narrative is a popular nonprofit organization “dedicated to storytelling in the digital age.” The organization awards an annual $4,000 prize to a new or emerging writer. Winners must first publish in Narrative magazine (an accomplishment in and of itself!), and are announced in September. The prize is officially awarded in October.
Discover Great New Writers Award
Deadline: June 28
Genre: Fiction & Nonfiction
The Discover Award is run by Barnes & Noble, and is given each year to debuting authors who have published fewer than three titles and whose sales have not reached 10,000 units. Winning authors receive $10,000 and in-store and online B&N promotion—an advantage whose payoff can’t be calculated. Similar to the National Book Awards, publishers must submit author titles.
Deadline: July 15
Genre: Fiction
The Bard Fiction Prize is awarded yearly to an emerging American writer under the age of 39. Not only does the winning author receive a monetary prize, the writer is also appointed to the position of writer-in-residence at Bard College for one semester. In this position, the recipient is able to give one public lecture to the Bard community as well as meet informally with students. In addition to copies of the published book, the application also requires a cover letter with an explanation of the author’s projected intent at Bard.
Deadline: August
Genre: History, Literature, Children, Nature, Natural History, Instructional, Adventure Guidebook, Nature Guidebook, Design, and Outdoor Classic
Another great award with a summer 2012 deadline is the National Outdoor Book Award. This award acknowledges the best in outdoor writing and publishing and is co-sponsored by the National Outdoor Book Awards Foundation, the Association of Outdoor Recreation and Recreation, and Idaho State University. Awards are announced in early November. This year’s application will be available in early June and deadlines have traditionally been in August.
There are a slew of awards out there, so if you know of any prestigious, independent book awards with summer deadlines that we’ve missed, let us know in the comments!
Shelf Space vs. Sell Through
April 11, 2012When you first become a published author there is much to learn about the ins and outs of this sometimes difficult to understand industry. There are some aspects that seem just plain backwards, particularly for those entering the industry from a business background. One of the hardest elements to come to grips with is the concept that a sale is not really a sale until it goes through two or three transactions. This makes calculating expected revenue difficult, to say the least. Add to that the returns factor (discussed here) and you are left with some confusing data to sort through.
If you’re working with a distributor, your distributor is going to sell your book to wholesalers and to retailers. Wholesalers play a very big role in all of this and it’s not uncommon for the majority of your books to first be sold to the myriad of wholesalers out there, big and small. (Learn about the difference between a wholesaler and a distributor here).Your distributor will report this is a sale to you and you will be paid for that sale (minus returns and reserves against future returns) but in the more explicit sense of the word, it’s not quite a sale yet. At this point, your book has been stocked in a wholesaler’s warehouse with the hopes that their customers (retailers and libraries) will purchase it from them.
Now the retailers and library customers of the wholesaler begin placing their orders for your book through the wholesalers. The wholesaler considers each order of your book a sale and will be paid for the books by their retail or library customer for those purchases. If the purchaser is a library, the cycle is done and you can safely call that sale an actual sale since the book is unlikely to be returned. If the purchaser is a retailer, however, it’s not quite a sale yet. Your book is one step closer to really being sold, but at this point, your book has now been given shelf space in a retailer’s warehouse and stores with the hopes that their customers, actual book-purchasing and reading consumers, will purchase it from them.
When an actual consumer picks up your book from a shelf and buys it, it is finally sold. Your distributor will differentiate between the sales to the wholesalers and retailers and the actual consumer sales as “sold in” versus “sold through”. The sold-through number is what you are both going to want to monitor, especially as it relates to the sold-in number. A large discrepancy can spell trouble around the bend in regard to returns. Consumer sell through is reported weekly by Nielsen BookScan and can be obtained through your distributor’s account or through your Amazon Author Central Account.
Until a consumer actually buys your book, it is subject to being returned by the retailer or the wholesaler, so keep in mind that the act of being placed on shelves is certainly not a guarantee of sales. You have two or three more “sales” to make before your book is actually sold through. Focus on creating demand so those books stay sold.