Yesterday, I ran into a local author who drops by Author! Author! on a fairly regular basis. Appropriately enough, I bumped into him in a bookstore. “I loved your latest blog,” Jack told me, chuckling. “You really made the poor souls who hear pitches sound out-of-touch with reality.” Since it has been his considered professional opinion for years that the version of reality as understood by the business side of writing and the version in which the rest of us live have little in common but a shared respect for the force of gravity, he was, he said, pretty psyched to forward the link to that post to half of the writers he knew. “You get ‘em, tiger!”
Tiger wasn’t entirely pleased to hear this reaction. It was flattering, of course. Except that view of pitch-hearers had not been precisely what I’d been trying to convey in my last post.
For those of you who missed it, I devoted part of it to the concept of a niche market, the publishing industry’s term for a target readership that really isn’t big enough to buy significant numbers of books. Agents tend to be leery of manuscripts that they think will appeal to only a niche market, since the book sales are unlikely to yield much in the way of commission.
Lest we forget, few agencies are non-profit organizations, at least intentionally. Contrary to what far too many aspiring writers believe, the business of selling art is in fact a business, not a charitable enterprise devoted to seeking out and publishing the best writing currently occupying the world’s computers. An agent or editor at a writers’ conference is looking for projects that he believes she can sell.
So when an agent dismisses a pitch with an airy, “Oh, that will only appeal to a niche market,” she’s not saying that it’s a bad idea for a book; she’s saying that it would be difficult for her to convince an editor at a major publishing house that there are very many readers out there who will spot it on a shelf at Barnes & Noble and carry it to the cash register.
See the difference? I hope so, because understanding that subtle distinction can often mean ending a pitch meeting on a cordial note, rather than with the writer weeping into the hallway, feeling as though he’s just been told his book concept is terrible and no one in his right mind would want to read his book.
To be clear, being dismissed as having only niche appeal is most emphatically not a comment on the book concept’s quality. It’s not even the same as saying the book won’t sell well. A book that appeals to a niche market does actually have a recognizable audience; it’s merely a smaller audience than the agent is hoping her clients will serve.
That in turn will usually make it harder for the agent to sell it to an editor, unless that editor and publishing house already have a track record selling to that particular niche market. Even if they do, the initial print run is probably going to be small — and since the advance is typically calculated as a function of the size of the initial print run, that generally adds up to a relatively small sale. And since reputable agents make their livings solely by taking a percentage of their clients’ sales…
So if you chose to hear, “Oh, that will only appeal to a niche market,” as “Oh, I don’t think I can make any money on that,” no one could blame you. That doesn’t necessarily mean, however, that you should take either to mean that your book doesn’t have significant market appeal — or that it’s not worth your while to keep pitching and querying it.
Why not? Well, as I mentioned last time, though, sometimes agents and editors are wrong about a book concept’s having only niche market appeal. Sometimes, that belief springs from a pro’s having handled a similar project recently that flopped; sometimes, it’s a function of having taken on a book like yours and broken his heart by not being able to sell it; sometimes, it’s a matter of not being psychic enough to know what will be the hot seller next year. But sometimes, he just isn’t aware of how many potential readers there are for a certain subject.
And sometimes, it must be said, their conceptions of particular demographics are years or even decades out of date. “Soccer?” they scoff, wrinkling their collective noses. “Nobody in the United States is interested in that.
Except, of course, for the 18.2 million Americans who played soccer at least once in 1998. (Speaking of outdated statistics; it just happened to be the one I had at my fingertips, but it’s really too old to be of much use in a pitch or query letter. Do as I say, not as I do: try to stick to statistics generated within the last five years. )
Because the person to whom you will be pitching will not necessarily be an expert on your subject matter, it’s a really, really good idea to do a bit of homework on your target demographic before walking into a pitch appointment, so you may point out — politely and preemptively — just how immense it actually is. However, please do not fall into the same trap that Jack did: don’t automatically assume that any agent or editor unfamiliar with your subject matter is out-of-touch or –as all too many conference-goers are apt to conclude — just not very bright.
Actually, the opposite is usually true — both agencies and publishing houses tend to attract genuinely smart people. Very smart English majors, typically.
See why they might not as a group know much about soccer? Or model train-building? Or lion-taming? Or how many Americans are currently supporting a loved one battling cancer?
That’s likely to be true, incidentally, even if there are quite lot of books on the market on any of these subjects right now. Remember, no agent or editor works with every kind of book; no agency professes to cover the entire literary marketplace, for the exceedingly simple reason that it would be impossible. They are specialists, and once a writer lands a contract with them, that’s good for everybody. However, one side effect of that praiseworthy concentration on a particular type of book can be myopia.
And I’m not just talking about needing to wear glasses because they read too much, if you catch my drift.
Before anyone out there starts feeling superior about her own far-ranging reading habits, let’s put that particular stripe of myopia in perspective: hands up, everyone who is an expert in a whole lot of subjects that don’t interest him.
Oh, you may laugh, but most pitchers’ expectations about their hearers’ interests are both unrealistic and unfair. In the world outside the publishing industry, we don’t generally expect a pipelayer to be conversant with the ins and outs of oral surgery, or an oral surgeon to know much about floral arrangement, or a florist to be an expert in particle physics. Yet at conference after conference, year after year, aspiring writers are shocked to discover that agents and editors aren’t all that up on the subject matters of their particular books.
Go figure. If it makes you feel better about having to go to the trouble to prove just how many potential readers are demonstrably interested in the subject matter of your book, pretend that you are going to be pitching to an optometrist, not an agent. (Unless your book happens to be intimately concerned with the workings of the eye, that is.)
One more reason that it would behoove you to compile a few statistics before you write your pitch or query: any number in the hundreds of thousands or millions will jump out at the hearer, a serious advantage when addressing an agent or editor suffering from pitch fatigue, that mind-numbing species of tiredness that stems from hearing pitch after pitch several days in a row.
Heck, even your fellow conference attendees may start to succumb by the last day of the conference. After the tenth response to, “So what do you write?” even rather dissimilar books can start to sound sort of the same.
Let’s face it, tired people in any profession tend to be rather poor listeners. Actually, if my recent odyssey through the medical establishment is any indication, many perfectly alert people are lousy listeners.
“Which knee was it again?” I have been asked countless times.
In a medical office as well as a pitch meeting, sarcasm is the least effective way to deal with inattentiveness. No matter how tempting it may be to say, “Gee, Sherlock, do you think it could it be the one in the meter-long brace?” the way to win friends and influence people is generally to pretend with all of one’s might that one has never heard that particular question before.
Oh, you may laugh now. You will thank me, however, when you step into an agent’s seventh pitch meeting of the day and find yourself asked by a weary listener, “So this is a mystery, right?” after you have just spent five minutes describing a plot containing fifteen grisly murders, a vivid description of a detective’s frantic search for the killer, and a blow-by-blow of a suspense-filled trial of the wrong man. Instead of blurting out, “Weren’t you listening? I spent six years writing this thing!” you will know to say politely, “Why, yes, it is a mystery.”
Leave it at that. Your mother will be proud of your nice manners, and so will I.
Because it is so very easy for even the most intelligent, market-savvy, and demographically-minded of pitch-hearers to succumb to pitch fatigue, it is in your best interest to make it as easy as possible for the exhausted (or, in the case of a query, for a bleary-eyed agency screener) to see the huge market appeal of your book concept. The best way by far: quantify it.
Yes, I am talking actual digits here. Because anything above half a percent of the US population will translate into some pretty significant numbers, you should use the concrete sums, wherever possible. Statistics are easier to dismiss. Besides, citing the numbers rather than the percentages allows for the possibility that your listener might not be up on the latest headcounts of the citizenry.
Oh, you don’t think that might be a problem? Quick, what’s the population of the US?
According to the US census’ population clock a moment ago, the answer was 311,836,375. How can you make that number work for you? Well, if you happened to be writing a ghost story, you might be thinking of bringing up in your pitch that oft-cited statistic that 1 in 3 Americans believes in ghosts, and thus might arguably be predisposed to be interested in your book.
You could state it that way, of course, and sound like every other pitcher aware of that particular survey. It is indeed an impressive percentage — if you happen to know how many people there are currently residing within the nation’s borders. Do you really want to predicate your pitch on the assumption that your hearer will be (a) aware of the size of the population, (b) able to do long division in his head, and (c) not too groggy to perform (b) correctly?
“That’s a lot of people,” the pitch-fatigued pro murmurs, rubbing his aching forehead; those fluorescent lights in conference centers have been known to trigger migraines. “Keep on talking — I’m just going to chug this entire carafe of coffee.”
In the blink of a bloodshot eye, what should have been a show-stopping statistic falls by the wayside. Let’s try another means of incorporating it into the pitch, to see if we can render it a trifle more memorable.
One-third of 311,836,375 is 103,945,458. Let’s assume for the moment that the ghost survey is correct (and it may no longer be; it was conducted quite some time ago). Let’s also set aside the undeniable fact that no survey actually covers the entire population (just try to elicit a baby’s opinions on the debt ceiling) and ignore what any sociologist would happily tell you, that how a question is asked can have a profound effect on the answer. (“Do you believe in ghosts?” would undoubtedly provoke a different response than simply screaming, “AAAAGH! Behind you! Is that a ghost?” and counting everyone who turned around as a believer.) Let’s proceed, in short, as if this statistic were 100% reliable.
You are going to be stressed out when you pitch, though, right? I’m guessing that you will not want to rely upon your recall of a nine-digit number. So what easy-to-remember alternative might you try? How about this: “Over a hundred million Americans believe in ghosts, and there are surprisingly few realistic ghost stories currently on the market.”
You could also say, “33% of the population might arguably be predisposed to be interested in my subject matter,” but that’s not nearly as impressive. Trust me on this one: to a former English major, 103.9 million people is going to sound a heck of a lot larger than a third of the population.
Now that I have you all excited about figuring out just how big your target market could possibly be, I suppose I should throw a bucket of cold water on the proceedings by pointing out that nobody in the publishing industry will seriously believe that 103.9 million Americans will actually rush out and buy every ghost book on the market. The last time I checked, the entire Harry Potter series collectively had accounted for only 450 million sales worldwide, and that’s counting the translations into 67 languages.
Hold it right there — you were fantasizing about a hundred million people buying three copies of your book each, were you not? I hope for your sake that turns out to be the case, but to an agent or editor, that kind of expectation is just going to sound like wishful thinking.
You don’t need to argue that all of those 103.9 million will buy your book — just that as a group, they will be predisposed to be interested in a ghost story. Trust the intelligence of the pitch hearer to be able to conclude that if even a tiny fraction of the believers in ghosts act upon that initial interest, you could have a runaway bestseller on your hands.
Was that blinding flash an indication that light bulbs are appearing over my readers’ heads? “But Anne,” some of you newly-eager book marketers exclaim, “how do I get those millions of people to act upon that wholly admirable impulse to buy my book even once? Or, if that’s jumping the gun at this juncture, how do I convince the agent or editor to whom I happen to be pitching at the moment that my book has a genuine shot at attracting a hefty percentage of those potential readers?
Glad you asked, gun-jumpers. Let’s talk about something pitching classes very seldom address, identifying a book’s selling points.
Oh, stop groaning; this is going to make you feel better about your book’s chances. Over the next couple of days, I’m going to be asking you to work on developing a list of selling points for the book you are planning to pitch or query. Specifically, I’m going to ask you to prepare a page’s worth of single-sentence summaries of attributes (the book’s or yours personally) that would render the book the best thing since the proverbial sliced bread to the right reader.
Why bullet-pointed, rather than paragraphs, you ask? So you can retrieve precisely the piece of information you need at any given moment of a pitch, without fumbling for it. Even if sweat is pouring down your face into your eyes and your heart is palpitating, you will be able to sound professional.
Or, to put it a bit more bluntly, so you won’t forget any of the reasons that your book will appeal to readers, even if you should happen — heaven forbid!– to have a panic attack during your pitch appointment.
I can sense that some of you who have attended pitching classes are feeling a trifle skeptical about this suggestion. “Yeah, right, Anne,” these already-instructed few are scoffing, “I should put in still more effort into preparing to prepare to write my pitch. If having selling points at the ready is so darned useful, why doesn’t every pitching teacher out there advise it? Or why isn’t doesn’t that list pop up in every how-to for writing a good query letter? Isn’t this in fact just another manifestation of your overwhelming ongoing desire to have all of us over-prepare for approaching agents and editors so that the Author! Author! community takes the literary world by storm and we can all sit around celebrating together? Wait — what was my objection again?”
Frankly, I don’t have any idea why other pitching teachers don’t recommend this, because in my experience, taking the time to prepare such a list works very well as a tool for improving pretty much any pitch, query, or book proposal. In fact, I generally recommend to my nonfiction-writing clients that they include a bulleted list of selling points in their proposals. True, it’s unusual to include, but both times I’ve sold nonfiction books, the editors have raved about how much they wished every proposer would include a similar page. Both times, the agent in question found her/himself reaching for that page while talking about the books on the phone.
Think of it this way: a well-prepared list of selling points is like a really, really tiny press agent that can travel everywhere your manuscript goes. And whose manuscript couldn’t benefit from a little good P.R.?
But to be clear: a list of selling points is not something you absolutely need to prepare before you pitch or query; it’s merely a spectacularly good idea. It’s unlikely to the point of hilarity, though, that an agent is going to look at you expectantly as soon as you walk into a pitch meeting and say, “Well? Where’s your list of selling points?”
Unless, of course, you happen to be pitching to an agent who habitually reads this blog — or did when she was a Millicent. I hear from readers in all walks of life.
But I digress. Even if you are not planning to pitch, query, or propose anytime soon, it is still worth your time to constructing a list of selling points for your book. Heck, it’s even worth doing if you are still in the throes of writing the book: the exercise forces you to picture your ideal reader and her reading preferences.
Another fringe benefit: pulling together such a document forces you to come up with specific reasons that an agent or editor should be interested in your book. Other than, of course, the fact that you wrote it.
I’m only partially kidding about that last point. Nonfiction writers accept it as a matter of course that they are going to need to explain explicitly why the book is marketable and why precisely they are the best people in the known universe to write it — that mysterious entity called platform. These are specific elements in a standard nonfiction book proposal, even.
Yet ask your garden-variety fiction writer why his book will interest readers, let alone the publishing industry, and 9 times out of 10, he will act insulted. Why the discrepancy? As I mentioned earlier in this series, a lot of writers, perhaps even the majority, do not seem to give a great deal of thought to why the publishing industry might be excited about their particular book, as opposed to any other.
Interestingly, though, many do seem to have thought long and hard about why the industry might NOT want to pick it up. As a battle-scarred pitching coach and veteran of more writers’ conferences than readily come to mind, I cannot even begin to tote up how many pitches I’ve heard that began with a three-minute description of every rejection the book has ever received.
Sometimes, tears accompany these accounts. “…and after getting rejected 17 lines, I had more or less given up on the book, but then I thought I would try one last query. When the agent asked for pages, I got so excited that I sent out the requested pages by overnight mail, so they would get there before the agent changed her mind, and then I waited eight months! Eight! All that time, I didn’t want to send out any more queries, just in case this agent wanted my book. So by the time she wrote and said that she just didn’t think she could sell it in the current market, I barely had the energy to completely rewrite the thing before sending out another flotilla of queries. But since 18 agents have said that the book is no good…”
Stop. Take a deep breath. In the first place, submissions get rejected for a lot of reasons that have nothing to do with whether the writing is any good. So do queries, and so do pitches. (In fact, rejections based upon last two cannot possibly be reflection of the book’s writing, unless the agency’s submission requirements asked you to send a few pages or the agent asked on the spot to see a writing sample.) In the second place, no one who handles manuscripts for a living seriously believes anymore that the number of times a book has been rejected is a particularly good predictor of what will happen with its next pitch or query.
And third, complaining about your rejection history is what your fellow writers are for; cultivate them, for only they will understand the pain of a rejection completely. When discussing your work with the pros, the last thing on earth you should mention is how difficult the submission process has been for you emotionally. This is not a therapy session. It may seem harmless enough, venting to a seemingly sympathetic stranger, but remember, you are in a pitch meeting in order to try to convince the agent or editor in front of you that you are a serious writer, one whose professional future she should take seriously. A tearful or resentful writer who would apparently rather waste time complaining than discussing his book is, while hardly uncommon, is more likely to be remembered for histrionics than for even the most brilliantly-conceived storyline.
Yet conference after conference, pitchers get so worked up over having to talk about their books that they flat-out forget why they are there. Especially if the agent in question happens to be nice to them; it’s very, very common to mistake a sympathetic listener for a potential friend. Let the jabbering begin!
On second thought, let’s not. Not only will constructing a list help you avoid the pitfall of getting off track– it will also aid you in steering clear of the sweeping generalizations writers tend to pull out of their back pockets when agents and editors ask follow-up questions.
Did that gigantic gulping sound I just heard ripping across the cosmos indicate a certain level of surprise? “Follow-up questions?” the timorous quaver. “You mean that in addition to gasping out a pitch, I have to have enough brain power handy to answer FOLLOW-UP QUESTIONS? I always thought that the agent or editor just listened to the pitch, said yes or no, and that was that.”
Actually, it’s rarely that simile — at least, not if the agent or editor likes what s/he heard you say. As in ordinary conversation, follow-up questions after a pitch are an indicator of the hearer’s interest in what’s being discussed. It’s a good sign. So you might want to be prepared for the agent of your dreams to ask something like, “Okay, why do you think this story will appeal to readers?”
Stop hyperventilating. It’s a perfectly reasonable question, and by the time we finish this series, you will be prepared — nay, happy — to answer it.
But you will have to make active preparations, I’m afraid. What most pitchers do when caught off-guard by such a question is either to start making wild assertions like, “This book will appeal to everyone who’s ever had a mother!” or “Every reader of horror will find this a page-turner!” OR to hear the question as a critique of the book they’re pitching.
“Oh, I guess you’re right — no one will be interested,” these poor souls mutter, backing away from the bewildered agent. “Please forgive me for taking up your time.”
Neither course will serve you. As I mentioned the other day, agents and editors tend to zone out on inflated claims about a novel’s utility to humanity in general — although if your book actually can achieve world peace, by all means mention it — or boasts that it will appeal to every literate person in America (a more common book proposal claim than one might imagine). A writer’s having thought in advance about what realistic claims s/he can legitimately make about why readers might like the book thus enjoys a significant advantage on the pitching floor.
The pros also tend, like most people, to equate a writer’s apparent lack of faith in her own work with the manuscript’s not being ready for the slings and arrows of the marketplace. That’s not always a fair assessment, of course, but since the very premise of verbal pitching is the certainly debatable contention that someone who can write well will necessarily be able to talk about it well — and in publishing-friendly terms, too — you can’t really blame an agent for advising a writer barely able to stammer out a sentence to try again at next year’s conference.
The selling point sheet helps keep you from panicking in the moment; think of it as pitch insurance. Even if you draw a blank three sentences into your pitch, all you will have to do is look down, and presto! A list of concrete facts about you and your book. Who was the clever soul forward-thinking enough to provide you with that?
”Yeah, right,” I hear the more cynical out there muttering. “What is this list, a Ginzu knife? Can it rip apart a cardboard box, too, and still remain sharp enough to slice a mushy tomato?”
Doubt if you like, scoffers, but his handy little document has more uses than duct tape — which, I’m told, is not particularly good at mending ducts. How handy, you ask? Well, for starters:
1. You can have it by your side during a pitch, to remind yourself why your book will appeal to its target market. (Hey, even the best of us are prone to last-minute qualms about our own excellence.)
2. You can use it as a guideline for the “Why I am uniquely qualified to write this book?” section of your query letter. (If you don’t know why you might want to include this section, please see the HOW TO WRITE A QUERY LETTER category on the list at right before you write your next.)
3. You can add it to a book proposal, to recap its most important elements at a glance. (My memoir’s agent liked the one I included in my proposal so much that she now has her other clients add them to their packets, too.)
4. You can tuck it into a submission packet, as a door prize for the agency screener charged with the merry task of reading your entire book and figuring it out whether it is marketable.
5. Your agent can have it in her hot little hand when pitching your book on the phone to editors.
6. An editor who wants to acquire your book can use the information on it both to fill out the publishing house’s Title Information Sheet and to present your book’s strengths in editorial meetings.
Okay, let’s assume that I’ve convinced you that pulling together this list is a good idea. (Just ignore the muffled screams in the background. People who can’t wait until the end of a post to register objections deserve to be gagged, don’t you find?) What might you include on it?
Well, for starters, the names of similar books that have sold well (along with some indication of why your book is different, better, and will appeal to the same demographic), your past publications, credentials, trends, statistics, high points in your background — anything that will make it easier for your agent to market your book.
Why are you the best person in the universe to tell this story? Or to put it as the nonfiction agents do: what’s your platform? Why will people want to read this book, as opposed to what is already on the market? What does the book or you as a human being offer to readers that no other document or author does?
Those of you wise to the ways of the industry are probably already thinking: oh, she means I should list the items on my writing résumé. (And for those of you who do not know, a writing résumé is the list of professional credentials — publications, speaking experience, relevant degrees, etc. — that career-minded writers carefully accrue over the years in order to make their work more marketable. For tips on how to build one from scratch, please see the aptly-named BUILDING YOUR WRITING RESUME category at right.)
Include these points, by all means, but I would like to see your list be broader still. Include any fact that will tend to boost confidence in your ability to write and market this book successfully — and that includes references to major bestsellers on similar topics, to show that there is already public interest in your subject matter.
So it’s time for a good, old-fashioned brainstorming session. Think back to your target market (see the posts of the last two days). Why will your book appeal to that market better than other books? Why does the world NEED this book?
Other than, obviously, the great beauty of the writing. Because absolutely the only way to demonstrate that to the agent or editor is by getting her to read your manuscript, right?
I hear all of you literary fiction writers out there groaning. It would be in your best interest to give some thought to this point, too. As I’ve said before and will doubtless say again, even the most abstruse literary fiction is about something other than just the writing. So why will your novel’s subject matter appeal to readers? How large is the book’s target demographic? What qualities or life experiences might those readers share, other than a laudable propensity to curl up with a good book?
Try thinking of the book as though someone else wrote it; what might you tell someone else about a book you really loved? If you were the publicity person assigned to promote the book, what would you tell the producer of an NPR show in order to convince her to schedule the author for an interview?
No need to write pages and pages of justification on each point — a single sentence on each will serve you best here. Remember, the function of this list is ease of use, both for you and for those who will deal with your book in future. Keep it brief, but do make sure that you make it clear why each point is important.
Possible bullet points include (and please note, none of my examples are true; I feel a little silly pointing that out, but I don’t want to find these little tidbits being reported as scandalous factoids in the years to come):
(1) Experience that makes you an expert on the subject matter of your book.
This is the crux of a nonfiction platform, of course, but it’s worth considering for fiction, too. If you have spent years on activities relating to your topic, that is definitely a selling point. Some possible examples:
Marcello Mastroianni has been a student of Zen Buddhism for thirty-seven years, and brings a wealth of meditative experience to this book.
Clark Gable has been Atlanta’s leading florist for fifteen years. He is famous state-wide for his Scarlett O’Hara fourth wedding bouquets.
Tammy Faye Baker originally came to public attention by performing in a show featuring sock puppets, so she is well identified in the public mind with puppetry.
Actually, I think this last one is at least partially true. But I should probably state up front that otherwise, my examples will have no existence outside my pretty little head, and should accordingly remain unquoted forever after.
(2) Educational credentials.
Another favorite from the platform hit parade. Even if your degrees do not relate directly to your topic, any degrees (earned or honorary), certificates, or years of study add to your credibility.
Yes, even if you are a fiction writer: a demonstrated ability to fulfill the requirements of an academic program is, from an agent or editor’s point of view, a pretty clear indicator that you can follow complex sets of directions. Believe me, the usefulness of a writer’s ability to follow directions well will become abundantly apparent before the ink is dry on the agency contract: deadlines are often too tight for multiple drafts. Some possible examples:
Audrey Hepburn has a doctorate in particle physics from the University of Bonn, and thus is eminently qualified to write on things that go boom.
Charlton Heston holds an honorary degree in criminology from the University of Texas, in recognition of his important work in furthering gun usage.
Jane Russell completed a certificate program in neurosurgery at Bellevue Community College, providing the basis for her protagonist’s skill in murderously wielding a scalpel.
(3) Honors.
If you have been recognized for your work or volunteer efforts, this is the time to mention it. Finalist in a major contest, in this or any other year, anybody?
The honor need not be related to your book’s subject matter, though; the point is that there are already people out there who consider you wonderful enough to be recognized for it. At least some of them will buy your book. Some possible examples:
Myrna Loy was named Teacher of the Year four years running by the schools of Peoria, Kansas.
Keanu Reeves won the Nobel Prize in Chemistry in 1990 for his research on THE MATRIX.
Fatty Arbuckle was named Citizen of the Year of Fairbanks, Alaska. As a result, newspapers in Fairbanks are demonstrably eager to run articles on his work.
(4) Your former publications and public speaking experience.
Another good one from the standard platform list. If you have any previous publication whatsoever, list it, even if it is off-topic. If your last book in another genre sold well, or if you were affiliated somehow with a book that sold well, definitely bring that up.
If you have ever done any public speaking, mention it, too: it makes you a better bet for book signings and interviews. (If you don’t know why, I assign you the interesting homework of attending any five randomly-selected author readings. You’d be astonished at how many people have a hard time reading out loud.) If you have done a public readings of your work, include that, because very few first-time authors have any public reading experience at all. (Which quite possibly explains the phenomenon I described in my last parenthetical aside.)
Some possible examples:
Paris Hilton writes a regular column on hog-wrangling for FARM JOURNAL.
Twiggy has published over 120 articles on a variety of topics, ranging from deforestation to the rise of hemlines.
Marcel Marceau has a wealth of public speaking experience. His lecture series, Speak Up! I Can’t Hear You! has drawn crowds for years on six continents.
I feel some of you tensing up out there, but never fear: if you have few or no previous publications, awards, writing degrees, etc. to your credit, do not panic, even for an instance. There are plenty of other possible selling points for your book — but of that array, more follows next time.
In the meantime, keep brainstorming about your book’s selling points — and keep up the good work!
