The Complete Guide to Book Publicity by Jodee Blanco

By Jodee Blanco

Written through one of many country's top publicists, this can be an authoritative, in-depth consultant to the original kind of exposure had to effectively release a publication. step-by-step, readers are coached throughout the levels of a book's exposure lifecycle. The nuts and bolts of booklet merchandising are lined for fiction, nonfiction, hardcover exchange, mass marketplace, and alternate paperbacks. an intensive "publicity toolbox" of pattern press kits.• writer has spearheaded the exposure for greater than 15 long island occasions best-selling books• "This booklet is a lifeline for publishing execs and writers alike."--Kent Carrol, Carrol & Graf• This replaces 1-58115-046-6

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I’ve always preached the value of newsletters. But it was Chptr 3 4/9/04 4:23 PM Page 51 W H AT IS T H E M EDI A , A N D HO W D OE S I T W OR K : FO C U S ON P R I N T during the promotion of my own memoir that I learned just how wonderful they can be in terms of boosting a campaign, especially now when mainstream media is becoming harder and harder to secure for authors. I was feeling mighty frustrated with the national press. Our country was in the middle of war, and the media wasn’t covering any other types of stories.

Think about the last time you saw someone on the beach reading a paperback of a Stephen King book. What you saw being read was a rack size paperback. Now that you understand what mass market paperback titles look like, let’s explore the formats themselves. A mass Chptr 2 4/9/04 4:22 PM Page 31 DIFFERENT STROKES FOR DIFFERENT FOLKS paperback reprint is a rack size paperback version of a book that was already published in hardcover trade. Major hardcover books are usually released in mass market paperback eight to twelve months after their hardcover publication.

The author was a former DEA agent who was now penning fiction full time. If you recall what we talked about in chapter 2, fiction publicity tends to demand more side-door approaches than nonfiction. It requires a creatively aggressive stance. My account executive started with the front-door route. She pitched the book reviewer, along with the lifestyle and feature sections. She pitched the crime writer; the police beat reporter; the business section, on the financial details of drug dealing; and even the education writer, on how drugs— once they’re smuggled into the country—physically reach the school yards.

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