童裝批發

童裝

童裝

酒店喝酒

酒店消費

喝花酒

粉味

酒店小姐

ktv酒店

台北酒店

酒店經紀找茵悅

酒店上班

酒店經紀

禮服酒店

酒店兼差

酒店打工

酒店經紀tw

酒店

台北酒店經紀

酒店打

酒店正職

Sorry to respond so late after your posting, but I just discovered your agency’s blog.

Thank you for this post, because you confirmed some fears I had developed regarding publishers and marketing. I’ve gone to several writers conferences over the past five years and each time the outlook becomes bleaker and bleaker regarding what publishers are willing to do for manuscripts in regards to editing, and also marketing finished products. This makes it almost incumbent upon authors to develop their own marketing strategy and possibly pay for their own publicist.

Last April my writing club had a local publisher as our guest and he spoke on the topic of marketing and what he finds attractive in marketing plans in book proposals. He imparted a lot of useful information, but I was struck on how he seemed to be behind the curve when it came to the internet. One of his authors would write online articles online, then they would get transmitted and reprinted in a myriad of places. The publisher said he could always tell when this author had done something like that because it caused an immediate uptick in sales.

And yet, he still seemd to think of the internet as a passing fad instead of an evolutionary trend that he was going have to understand and either Adapt or Die.

He also used “platform” in his talk, but there is another term that I think should be part of the publishing lexicon if it is not currently. That term is “fanbase.”

Platform describes someone’s expertise on a subject, but fanbase is a legion of people who are committed to buying books once they hit the shelves.

One of our club members has a popular blog on AOL and has had over 100,000 hits in the last year. She’s not an expert on anything, but she has fans. If she made a collection of her blog entries and it came out in book format, there’s a good chance her fans would buy it – even if they’ve already read the stuff for free online.

Because a nice shiny book on your bookshelf is something different than something on your computer screen. You can snuggle up with a book in bed, or take it with you anywhere, etc. Books are different than any of its digital counterparts.

And that’s why I belive books will continue to be important far into the 21st Century and the Information Age. However, marketing has dramatically changed from the 20th century schemes of snail mailing press releases or “if you schedule it they will come” book signings.

Nope, online chats with fans or author call-in Q&A’s with readers are really the wave of the future. Donna Woolfolk Cross and her success with the paperback version of Pope Joan is a case in point. (I go into detail about that on my blog if you want to know more about Donna and Pope Joan.)

Thank you again for sharing,

Linda McCabe

Second, I know publishers (at least some of them) still have marketing and PR departments, so what are they paying these people to do? Or are the PR budgets so skimpy they can only afford to promote the BIG titles, which are going to sell anyway?

Your post is the reason why I’ve developed my own marketing plans. Publishers are production and distribution and little else it seems.

M

Writing with such a particular group in mind seems like a good way to build loyal readers, but also limiting in reader numbers.

On a related note, I’ve wondered something related to publicity on the author side. If an author has a promotions/marketing/PR background, would that be useful information to put in a query letter for an agent? Especially if a writer falls short on publishing credentials for fiction.

The same applies to fiction. I think novelists have a strong sense of who their audience is, beyond the obvious demographic stuff. Maybe the disconnect occurs between the acquisition and marketing because the author’s vision of their audience is never articulated.