Bookstorming: 110 Ways to Promote Your Book

By: Jan Yager

1-889262-36-6 $34.95 trade paper retail list price

A book promotion expert with 30 years experience offers 110 surefire ways to draw attention to your book, on your own orworking with a book publicist. Includes an extensive resource section for sending out review copies to selected newspapers, broadcast and online media plus sample pitch letters and press releases.

Detailed Information

Book Excerpts

HOW TO BEHAVE ON TELEVISION

by Jan Yager, Ph.D. All rights reserved May not be duplicated without permission (From Bookstorming, forthcoming)

Appearing on television is an experience as foreign to most writers as sitting in a quiet room researching and writing a book would seem to most interviewers or performers. If you are asked to be interviewed on a local, national, or network TV or cable show, these tips may help your experience be rewarding, rather than embarrassing.

Before the Interview

1. Be thoroughly familiar with your subject matter.

This may seem like an obvious suggestion, but remember that an appearance may be scheduled months or even years after an article or book was researched and completed. Reread your notes, your relevant published works, and recent publications by others on the same topic that might be discussed with you. You should be so well-versed in your subject that note cards are unnecessary. Memorize statistics, humorous or pertinent anecdotes or quotes, and exact citations that substantiate your major points. Because you are appearing before a camera, it will be unwise (if not impossible) to refer to even the smallest index card or scrap of paper.

On the average television show, you may be allotted anywhere from two to ten minutes for the interview, depending on the format of the show and its style. The format of the show may vary—e.g., you may be one of several guests; or, you may be the only guest, but appear on just one segment of a longer show—but the typical interview usually boils down to about seven to ten minutes. Therefore, it is imperative that you have confidence that your answers are correct and that your knowledge of the subject or your expertise cannot be shaken by the barrage of questions that you may be asked.

2. Prepare a list of sample or recommended questions.

Best-selling nonfiction writer Joseph Goulden (The Superlawyers) offered this piece of excellent advice to me. Some stations may be insulted if you provide them with a list of questions, but often an interviewer will even ask you what you want to be queried on. The reasons may range from respecting the insight of the author into the relevance of his or her material, to the interviewer’s hectic schedule not allowing him or her a chance to read your material. Regardless of the reason, it is desirable to prepare a good list of sample or suggested questions. Photocopy the list and carry it with you just in case you need it. (Of course it is a mistake to become conditioned to only those questions so that you will be startled if a host or hostess deviates from your list. You still need to be able to answer anything and everything that is asked of you in an informative and knowledgeable way.)

Some producers may also share with you a list of questions that he or she has asked the host or hostess to use. Once again, this list is only a suggestion. Some hosts use those questions faithfully; others completely disregard the list and ask different questions. Once again, be prepared to answer whatever questions the host or hostess asks, whether from your list, the producer’s list, or that are completely new to you.

3. Set up practice interview sessions and/or, if necessary, get professional media training.

For many authors, the initial talk show pre-interview, which is usually conducted over the phone in advance of booking you on the show, may be a definitive test that determines whether or not a subsequent TV or cable appearance will come to pass. Being excessively wordy on the phone or making the mistake of thinking you’re having a social conversation with the producer or booker, rather than being pre-screened as a potential guest, could end your chance with a particular producer or show.

To give yourself the best chance at being selected to appear on a show, as well as to improve the likelihood that your actual interview will be all it could be, set up practice interview sessions. If you have the budget for it, hire a professional media trainer. Work with him or her to fine tune your TV presentation skills including what you will say and how you will say it. Ask the media trainer to videotape your mock interview. Play it back and discuss together what works and what does not work, and how you can improve, including your wardrobe, make-up, hair, and facial expressions as well as what you say.

If you do not have the budget for a professional media trainer, at least do a “mock talk show” session in your living room with a family member or friend conducting the interviewing. You can even use a home video camera to tape the session, as much for the feedback you can get when you review the tape as for the semblance of an actual interview whereby you are asked to avoid talking to the camera but instead asked to speak to the interviewer. Give your list of questions to a friend or relative and answer them as if you are on the air. Time your answers and see if you are taking too long to make your point. Try it a second run-through with the interviewer “ad libbing” the questions. Just hearing your replies will be a learning experience since few writers, except poets and those who lecture widely, have a great deal of experience with structured public exchanges. You might even consider having a small audience at a practice session to familiarize yourself with an audience watching you while you are being interviewed.

Unless you’re one of those rare TV “naturals” who thrive in front of the camera, without enough preparation, the hordes of persons at a talk show—camera operators, producers, engineers, other guests—may be disconcerting to someone used to only one other person being present during an interview. Ask the guests in the audience at the practice interview to comment on your answers as well as on your television manner. Do you seem relaxed? Were there any physical, especially facial, mannerisms that seemed annoying or distracting? Was your voice clear? Would your statements stimulate someone to want to buy your book? What’s the one idea that someone heard that was especially fresh, memorable, or unique? Work on expressing yourself in a way that leaves a lasting favorable impression.

4. Select attractive and comfortable clothing.

Most shows will advise you not to wear white (unless you’re best-selling author Tom Wolfe who always wears his trademark white suit) or checkered garments, but after that you are on your own. Choose something that you have worn before and have received compliments on. (Or if you’ve gained or lost weight and have nothing that fits in your closet, go out and buy something new, even if you only wear it this one time and donate it to charity afterwards because you are going to lose those 20 pounds you recently gained!) If you wear a dark suit, you can always brighten it up with accessories, such as a scarf for a woman or a bright-colored tie for a man.

Of course, if possible, it is best to avoid buying something the night before your debut but sometimes it is not practical to avoid doing just that.

Whether your outfit or suit is old or new, pick clothing that fits the time and format of the television show—keeping in mind that many shows are taped and that you may tape at noon for a late-night program.

If you are told that you need not worry about what you wear below the waist because the camera will only be focusing on your face, remember that some shows do ask to have the camera pull back at the end for a long shot. Furthermore, even if no one sees your entire outfit, how you feel about how you look may impact your behavior during the interview. So I suggest you concern yourself with making choices that you are comfortable and pleased with including everything from your shoes to your overall outfit to what necklace you wear, if any, and even your watch and nails. The more confident you are about your appearance, the better.

5. Whenever possible, be familiar with the television show prior to your appearance on it.

Of course everyone throughout the United States and even in many parts of the world is able to see shows such as The Oprah Winfrey Show, The Today Show, Good Morning, America, or The Early Show, as well as other national cable or network shows. It is harder to be familiar with the show you are going to be interviewed on if it is a local show, especially if it is in another city or state. If you know someone who lives there, you could ask him or her to tape the show for you and mail you a tape so you could preview it. If you’re working with a book publicist, you could ask him or her to do that for you as part of his or her services. (Most book publicists network with publicists in other cities.) They may even know someone at the studio who would send out a sample show.

It is very important that authors who rarely watch TV, including TV talk shows, gain a degree of familiarity with the way that talk shows generally unfold. This includes the pacing of the questions and answers, and the mannerisms that work and those that are annoying or counterproductive. So if you cannot preview the exact show you are going to be on in another city, at least try to watch another show that features author interviews.

6. Keep in close communication with the show’s producer right up until your appearance.

Stay in communication with the producer of your television show by e-mail or telephone prior to your appearance even if the interview was set up a week or two in advance. Make sure the producer or guest booker has your home, office, and cell phone numbers as well as your e-mail address. If you are going out of town for any length of time in advance of your appearance, make sure the producer knows how to reach you. A producer’s biggest fear is a “no show” so make sure you are not contributing to that fear by being out of communication in the days or hours before your taped or live interview. If you are traveling from out of town, arrive the day before the taping or live show. (Some shows require that you arrive the day before, even if you are taping in the afternoon and you could fly in that morning. It helps reduce the fear that there may be airport delays or other last minute reasons that you are a “no show.” If you are in the same city the day before the show is taped or live, there is a higher probability that all will go smoothly with your appearance, or at least the part about getting there in the first place.)

7. Remember that TV and cable are visual mediums.

Some shows may actually ask you to provide products or visuals, besides just displaying your book jacket, so the show is more than just you and the interviewer asking and answering questions back and forth. However, if you do have visuals, you should mention if you are planning to display photographs or use props, since the director has to decide whether anything you wish to display is appropriate and, if it is, how it will be worked into the show. Television is a medium that incorporates the decisions of many diverse persons. If a producer decides illustrative material is desirable, try to be accommodating. However, ask for specifications as to the type of material that they prefer. Some shows use blow-ups of photographs or illustrations; others like slides; some will design the display material for the segment; others will request that you not show material.

Talking to the producer may also be helpful in clueing him or her into your goals for the interview. Often the producers write the questions for the interviewers and therefore they are the people most directly responsible for the actual vantage point of your interview. If there are other guests, you have the right to inquire as to their background so that you are prepared for any controversy or conflict that may develop. You might also want to consult their works, if they are published authors, so you might engage in a more knowledgeable discussion.

8. Try to have an expert apply your make-up.

Some shows, mostly the network or major cable shows, offer professional make-up artists who provide a complimentary make-up transformation for their guests. For many local shows, or shows with a smaller budget, you will have to fend for yourself. Therefore, apply a light foundation to avoid shadows but do not try to imitate models or movie stars. Women should avoid harsh eye shadow or lengthy false eyelashes that may cause shadows. Light rouge is desirable, but too much of a “red” look will be accentuated by the color cameras. If you are doing your own make-up, the best advice is to use as little make-up as possible, rather than more than usual.

However, you might also want to hire your own make-up artist to give you as a professional a look as possible. It may cost you anywhere from $50 to $250, depending upon whom you hire and her or his credentials and experience. (For a list of professional make-up artists in the New York area, see the resource section in the back of Bookstorming.)

9. Arrive at the television station at the exact time you have been instructed—not too early and definitely not late.

The producer will probably advise you to arrive at an exact time which will be anywhere from twenty minutes to half an hour or even an hour before your scheduled appearance (the longer time is for those shows where you will have a professional make-up artist working on you). Although you do not want to be late, you also want to avoid getting to the show too early. Producers are very busy and are often working on the questions for your segment and the rest of the show right up until the taping or live shoot begins. If you arrive too early, there may be no one to greet you or show you to the “green room” and your presence may be resented more than welcomed. If you arrive five to ten minutes before the exact time you were advised to arrive, no one will get that upset. But if you are coming a great distance and it’s hard to judge how long it will take you to get to the studio, if you are more than fifteen minutes early, try to find a coffee shop nearby to sit and wait. At close to the time you were asked to arrive, now go to the studio.

10. Find a way to eliminate the tenseness you may be feeling.

Kathryn Crosby, who hosted her own morning show on KPIX-TV in San Francisco, did simple calisthenics a few minutes before airtime to limber up and relax. Others find breathing exercises relieve the stress; others talk to the mirror or run in place. The technique is not important, but the result is—to soothe the body so that it responds to the television camera with ease and comfort. The key point is to eliminate the shaking knees and twitching eyebrow, for these will be magnified by the glaring electronic eye!

During the Interview

All of the preceding guidelines were preparations before actual airtime. Those steps are necessary to avoid a disaster during the two-to-thirty minutes of exposure. Now let’s assume you are sitting in that red-and-blue checkered arm chair on the “So and So Morning Show.” What are some technical tips about the interview itself?

11. Ignore the camera and the monitor.

The most common mistake of the interview neophyte is to stare at the glaring, enormous television camera or the seemingly harmless monitor that is placed below the camera but tempts the guest because it replicates what is happening on stage. Unfortunately, if you stare at the monitor, you will be avoiding your host or hostess and the audience will not have the feeling that they are observing a casual conversation. You will appear nervous, uncomfortable, and threatened. Thus, at all costs, look at your interviewer and ignore that huge, staring camera or that monitor. Cameramen or camerawomen and others are paid to race around the studio “showing you” to the audience, so trust them to make sure that you will be seen and heard.

12. Keep your answers short, clear, and interesting.

Remember this is a TV or cable interview—not a conversation in your living room with an old friend. You need to have short, crisp answers. Think in terms of “sound bytes.” Express the information or anecdotes you want to share succinctly. TV and cable are fast-moving mediums. The worst thing you can say to a book author who was just interviewed on a show is, “Your answers were too long.” (If it’s a taped interview, that can be fixed. They will shorten your interviews for the aired version. If it’s a live interview, you can’t undo that and you may never be asked back.)

Somewhat related to the too long answer is an even worse sin: being boring. If your answers are interesting, you may even be forgiven for taking too long to answer. But you will never be forgiven for being boring. Use your best material in this interview. (Hint: avoid giving your best ideas or information to someone you talk to in the “green room,” the room you may sit in before you are brought into the studio for the interview. Save your good stuff for the actual interview. Or if you do talk to someone in the green room, or in the hallway on the way to your interview, and shared your best ideas and anecdotes, just say them again. The viewers have not heard them yet. It’s new to them.)

13. Focus on connecting with the host or hostess, and your audience, and not on whether or not you are selling your book.

If you focus on your message, and on making a connection with the host or hostess, as well as your viewers, it is much more likely you will sell books than if you focus on selling your book. Phrases such as “In my book…” or “My book…” can be a real turnoff to your interviewers or the viewers. It is a definite art to convey information and anecdotes in a way that inspires viewers to want to buy and read your book. It could be that you share an example from your book that is so compelling that they want to find out more. Or the host or hostess expresses his or her excitement about your book for you. For example, an interviewer might say to you, “I read your book and it’s excellent, by the way, and in your book you mention….”

Think of the interview like a job interview. If the interview goes well, you may be offered the job. If it does not go well, does it matter that you made a big deal about how many vacation days you were going to get or what the criteria are for end of the year bonuses?

Concern yourself with providing something to the interviewers and viewers that they need and they may want to find out more by buying your book.

14. If you’re asked an annoying question, reply with taste and, if appropriate, humor.

My sister Eileen, who has been studying and teaching communication skills, as well as practicing in the field professionally for thirty years, taught me early on an old adage in the speaking business to keep in mind when you’re being interviewed: “You’re not responsible for the questions, only for your answers.” That means you have to find a way to deal with questions that are off the topic, or even offensive or annoying. You can of course state that you do not wish to answer that question, but it has to be done tactfully, and only in the most special of circumstances, or you may fail to appear the expert, knowledgeable author that you most certainly are and others expect you to be. (In professional media training, you learn how to use the concept of “bridging,” whereby you respond to a question that may be off topic but you bridge it back to the ideas and information that you want to share.)

On a local show in Washington, D.C., Dr. Neil Solomon appeared in connection with his recently-published book on weight control. The interviewer, however, began her questioning with a completely unrelated question about why a certain type of packaging might be dangerous to children. I had tremendous respect for Dr. Solomon as he calmly and clearly answered her question; the hostess soon returned to weight and diet. Because Dr. Solomon was not “thrown” by a deviation from his book about diet, he won the respect of the audience and the admiration of the interviewer by not becoming hostile or disoriented. Being flexible is a key principle for a talk show interviewee. Otherwise you may seem forced, programmed, or out-of-control.

Some writers refer to their published writing, or the title of their book, in every other sentence. Rather than motivating the viewers to become readers, this often turns them off to the guest and his or her book. As noted earlier, if you are interesting, the viewer will be inspired to pursue your writing. There is no way to force television watchers to become readers through the repetition of a title or continually picking up your material for exhibit. If your comments and thoughts are provocative enough, there may be a residual effect to your discussions. However, have your book on hand just in case they want to display it and they never received a copy or have misplaced the one that you or your publicist sent in advance.

Of course you can engage in lively debates with an interviewer. This is often preferable to simply being an overly-compliant guest who agrees with everything the host says because of the mistaken notion that to disagree would project the impression that he or she is impolite. But energetic conflict is different from emotional anger and wrath at a tactless or infuriating question. Try to engage the host in an animated but controlled discussion, but not by attacking or losing your temper.

15. When you are told the time is up, quickly end your sentence (if you were in the middle of a comment) but if you were not speaking, do not immediately begin talking as if you’re trying to get in “the last word.”

Some writers, unfamiliar with the split-second timing in television shows, cannot accept having to terminate a sentence when they had five more lines to say. This may have disastrous results. I remember my shock when I saw an author on The Today Show literally argue with Barbara Walters, who was the host at that time, after she advised him she was sorry their discussion had to end. “But I just wanted to say,” a voice was heard echoing as the commercial instantly began.

Instead of getting flustered and confused when time runs out, smile politely and sit in your chair until the command is given to take off your mike. Often there are a few seconds when the camera moves back and covers the entire setting before going to a commercial break.

16. Try to allow a few minutes after the program for feedback and/or discussion.

Producers and interviewers are usually very helpful to an author if the guest allows a few minutes to analyze what just occurred. If you very simply say to the producer or guest booker, “How do you think the interview went?” be prepared to hear some criticism and useful feedback as well as praise. If you get some helpful suggestions, such as “You seemed a bit wooden at the beginning but you loosened up as the interview progressed,” or “Your answers were too long,” don’t get defensive. Be gracious for the feedback and comments and let him or her know that you will be applying those suggestions in your next interviews. Of course if your interview has been sandwiched-in among several guests, you may have to wait patiently in a special room until the show is completely over before discussing the show. But it may be time well spent. You may pick up tips on how to improve your television manner and you will also be able to probe any points that might have been made if you had just had more time. This shows your interest in the show and the people behind it and the exchange is beneficial for everyone. If you have another appearance right after the show that you have to dash off to, this is often a luxury, but sometimes there is at least ten minutes that you can spare to become more “television-wise.”

However, if you are whisked out of the studio, and the building, of course don’t be aggressive about asking for feedback. You can always send an e-mail or call later on to see if there are any comments that might be useful to you, be they positive or constructive criticism.

These 16 points are just the basics for being a confident and desirable guest. Each show helps you improve and master your talk show interview skills and manner. If you are appearing on several shows, do not carry the mistakes you make on one program to the next ones.

Learn from your errors, and approach each appearance with a fresh, enthusiastic attitude. Like Anthony Hopkins, when he appeared in the Broadway hit Equus, you should make the viewer feel as if you have never said those quotes before, that this is the first time, and that they are the first ones to hear your “answers.” Avoid sounding rehearsed, memorized, or planned. After all, a writer is even luckier than an actor in that you are composing a new script every minute for the questions will be varied and your answers will probably be equally diverse. Thinking you’ve “been there before” may lead not just to a dull interview but you might even embarrass yourself by answering the wrong questions with the right reply.

Try to make the time to write a personal thank-you note or e-mail to the producer, guest booker, and hosts. It may enhance their respect for you as a “people person” and also give them a feeling that they are appreciated for their efforts. This also creates a kind of meeting of two worlds—the visual and the written media—with the common goal of exposing ideas to the public.

To all the overall and specific advice about how to behave on television or cable, the best piece of additional advice I can conclude with is: “Enjoy yourself!” If you do, the viewers will share the experience and want to discover more about you and your ideas. Some may jump for the phone to order, rush to the local bookstore, or go directly online to get your book from an online bookstore. But even if they don’t run out and buy your writing tomorrow, you—your name, your image, perhaps even the title of your book and, more importantly, what you said that’s especially memorable and insightful—will be part of their collective memory and, hopefully, a stimulating part.

Jan Yager has been interviewed on television since her early twenties on scores of programs including The Oprah Winfrey Show, The Today Show, Good Morning, America, The View, Good Day, Philadelphia, To Tell the Truth, CBS News’ Sunday Morning, and other programs.

For a list of media trainers and make-up professionals as well as TV and cable talk shows that interview book authors, and lots more information on promoting your book, read Bookstorming: 110 Ways to Promote Your Book by Jan Yager, Ph.D.

 #12 Create a winning media kit by Jan Yager All rights reserved (From Bookstorming, forthcoming)

This will include the press release about your new book, sample questions that an interviewer might ask, an author biography, an author photo, and reviews. Also of value: selected feature stories about you, or any articles you have written that are pertinent to your credentials as author of this new book. (Some still refer to this collection of documents as a press kit. I am using the term media kit because it is being sent to, or made available to, local and network TV, cable, and radio show producers, hosts, or guest bookers, and not just to members of the press, e.g., magazine, newspaper, or online publication editors. A media kit, which includes a press release, encompasses all these various media or press outlets for the information about your book that you and/or your book publisher and book publicist wish to disseminate.)

You may want to have all this material available at your website for the media to access 24/7. In addition, ensure you have a version you could fax upon request, as well as a standard version that you could send by regular or overnight mail. The version you will fax should exclude graphics or dark areas that would appear black or difficult to see by the recipient.

Ideally, here is what you would want in a basic book media kit:

• A well-written 1-2 page press release. (Tammy Filler, who was a guest speaker at one of my Book Promotion Boot Camps when she worked as a producer at ABC-TV’s Good Morning, America, emphasized how important it is to grab her attention right in the very first line of your press release. Filler, like all producers and guest bookers at major shows, emphasized the quantity of books that they are pitched constantly and how pivotal it is to have a press release that gives your book the best chance of at least getting noticed and considered for a possible author interview.)

Please note: The press release should be written on the letterhead of your publishing company or it should be generated by your book publicist and written on the letterhead of her or his book promotion or public relations company. In general, press releases for a book should not be written on the author’s letterhead, nor should they be sent directly from the author, although you could write a personal cover letter to a producer, host, or journalist, enclosing the publisher or publicist’s press release. (For sample press releases, see Appendix I: Sample media kits.)

 

• Excerpts from positive reviews incorporated within the press release or on a separate page. (If permissible, for extremely important and prestigious reviews, include the entire review.)
• If the names of those who endorsed the book are notable enough, you could also include a sample of reader endorsements (or blurbs) for the book.
• Author biography with background information that is especially geared to your credentials for writing this book, whether fiction or nonfiction.
• Sample Interview Questions that a talk show host or journalist might ask you. Include 5-20 questions, with the average number usually around 10.
• Articles about you that are relevant to this book.
• Articles you wrote that are also especially related to your book whether it is the topic of the book or, for fiction, articles about the writing process.
• A business card for convenient follow-up. You can include yours or, if you have a book publicist and prefer follow-up to go through him or her, your publicist’s card.

 

A completely optional addition to a media kit, but an item that, if well-chosen, can help to get positive attention for your book, is adding a promotional item that supports the theme of your book and gets your media kit noticed and remembered out of the volumes of books that are appearing on the desks of those you are contacting for publicity consideration.

For example, for my book When Friendship Hurts, published by Simon & Schuster, Inc., Fireside Books, I imprinted several hundred first-aid kits with the title of the book on the cover, the publisher, and the author’s name. Inside there were Band-Aids of varying sizes and a first-aid instruction sheet, but I also added two additional informational items, based on my book: “5 Steps to Trying to Save a Friendship” and “5 Steps to Getting Over a Friendship that Ends Even if You Don’t Know Why.” The first tip sheet was printed on a self-adhesive label that was put inside the top cover of the first aid kit. The second tip sheet was printed on stiff paper and cut up and added to the kit. Remember to also include the cost of creating any promotional item into your publicity budget for each book that you are promoting. Usually including a promotional item with the sample book and press materials will not add to the cost of shipping your materials. However, if you do include a heavier promotional item, you may have to budget for that additional shipping cost as well. (I spent approximately $2.50 per imprinted First-Aid kit for friendships; I usually try to keep the cost of a promotional item to $1.00 or less per item. Since there was so much useful information included with the promotional item, I considered this particular item truly as an extension to the media kit. The feedback I received for the friendship first-aid kit was consistently positive.)

Other promotional items might be: a bookmark, an imprinted pen or pencil, or a photo frame on a key chain (if your book has to do with nostalgia or family topics). Be careful about including food items, especially chocolate in the summertime, unless you have a careful way of packaging your book, the press materials, and the food item so nothing melts all over your printed materials in the hot weather.

Be careful, however, not to overemphasize the promotional item. It should contribute to your media kit and not diminish or negatively impact on your book and your press materials, the main focus on your publicity efforts. (For a list of companies that print promotional items, see Chapter 11, “Where to Get Help.”)

There’s a debate about whether or not you should put all the above material into a folder that has been either custom-printed with the cover of your book, or with a color copy of the book cover on the front of the folder. Another school of thought is that you should just put all the material together and fold it up in the front of the book, without a folder.

As you get to know members of the media, and what their preferences are, you, or your publisher or publicist, will make a judgment call about the best way to proceed in terms of whether to put these press materials into a media kit folder or not. You could certainly create the more glitzy looking folders to store all these materials and send it to your media contacts, knowing that some will take the material out and put the most relevant parts of it, especially the press release and your bio, folded up right in the front of the book. Of course you should not be offended if that’s what someone does, and your beautiful and costly folder is just thrown away. By contrast, there are some media bookers or editors who prefer to have those nice folders in order to line up the folders on a shelf, with or without the sample book nearby.

To summarize, here’s your book media kit checklist:

• Press release.
• Positive reviews.
• Notable endorsements or blurbs.
• Author biography.
• Sample interview questions.
• Articles about you.
• Articles you have written.
• A business card: the book’s publicist and/or the author’s.
• A promotional item (optional)

Foreign & subsidiary rightsinquiries

Inquiries about all other languages, as well as English reprint rights for India, should be send your request to the foreign rights department at Hannacroix Creek Books, Inc.: hannacroix@aol.com. Our company maintains an active network of highly-regarded and prestigious foreign agents in most major territories; in territories where we are not represented by a foreign co-agent, we deal directly with foreign publishers.

For subsidiary rights consideration of this title including mass market paperback rights, or for book clubs, contact the subsidiary rights department at Hannacroix Creek Books, Inc. (hannacroix@aol.com, Fax: 203-968-0193) and your inquiry will be considered.

Links of Interest

These featured links and resources are compiled by Jan Yager, Ph.D. Copyright © 2008, 2005 by Jan Yager, Ph.D. All rights reserved. Inclusion or exclusion from this list does not imply an endorsement. Because Internet addresses may change, and publications may go out of print at any time, the accuracy of these listings cannot be guaranteed. For additional featured links, books, articles, and newsletters related to book promotion, read Bookstorming: 110 Ways to Promote Your Book (forthcoming).

of interest

www.Bookmarket.com

Extensive site maintained by book promotion expert John Kremer, author of 1001 Ways to Market Your Books (Fairfield, IA: Open Horizons Press, updated periodically). Kremer also edits Book Marketing Update, a monthly newsletter with book promotion opportunities. At the site are free lists of editors and resources as well as an order form with products, such as the top 700 independent bookstores, available for purchase.

www.anniejenningspr.com

Annie Jennings, a New Jersey-based publicist, specializes in book promotion for book authors, experts, and speakers. She has an extensive resource section at her site with this URL that provides links to major pre-publication review publications, http://www.anniejenningspr.com/pages/book-marketing-resources.htm . There are also numerous book promotion-related free articles to peruse. Clients can use the firm’s services on a per-placement basis as well as her top 25 radio market campaign.

www.happilypublished.com

Extensive site maintained by Judith Appelbaum, author of the classic self-help book, How to Get Happily Published. Applebaum, who runs Sensible Solutions, a consulting company for book promotion strategies, offers suggestions on how to increase book sales, find a publisher, a links section, and the pros and cons of the self-publishing option.

 

About the Author

Jan Yager

Jan Yager, Ph.D. (the former J.L./Janet Barkas) is a writer, sociologist, consultant, professional speaker, artist, and publishing entrepreneur whose areas of expertise include relationships and business issues including time management and work relationships. Jan's first book published by Hannacroix Creek Books, Inc., Friendshifts®, based on fifteen years of original friendship research, led to interviews on The Oprah Winfrey Show, The Today Show, The View , National Public Radio, and other programs. Other books include When Friendship Hurts (published by Simon & Schuster, Inc.) as well as two career books by Facts on File, Inc. A prolific writer of fiction as well as nonfiction whose books have been translated into 14 languages, she is co-author of two suspense thrillers, Untimely Death and Just Your Everyday People. For more information, go to: www.drjanyager.com.

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