​Kelly Carey presents a guest interview with Jordan Standridge, Marketing Associate, Charlesbridge Publishing

Prior to the release of my debut picture book, many colleagues had warned me that the marketing work for my book would fall squarely and heavily on my shoulders. That was a bit terrifying! I was new to this rodeo and the marketing bulls were rippling with scary muscles and fuming with bad smoky breath. I dove into research, determined to be a marketing bronco buster, and then along came Jordan Standridge, Marketing Associate at Charlesbridge Publishing. And suddenly, I was no longer alone.
 
I have been incredibly relieved to find that Jordan has proved to be both a partner and champion in marketing my book – which is really our book! I’ve invited Jordan to join us for 24 Carrot Writing’s July Marketing Month to explain how authors can help market their book, what they can expect from their publishing house, and how to have a good marketing partnership with your publisher.
 
Thanks for joining us Jordan!

Thanks for having me, Kelly! It’s been such a pleasure working with you on How Long is Forever?. 

​As the Marketing Associate for Charlesbridge, I work closely with authors. So really, anything that falls under that umbrella: I’m in touch with indie bookstores across the country, and help get events set up; I submit authors and their books for festivals, if timing and fit are there, and organize the planning leading up to it; I reach out to various outlets/influencers for publicity opportunities, and mailing out advance/complimentary copies; I pitch upcoming books at bookseller regionals/conferences, too! Basically, if you’re an author with book releasing with us, we’re going to be working together.

​Many debut authors don’t know where to begin in marketing their book. What are some essential first steps debut authors should take in preparing for a book release? 
 
As much as I am going to help get your book out there in the world, it’s so helpful to have an author to work with that is willing to put in the work, right there with me. So how can a debut author be a partner to market their book?

• Introduce yourself to your local indies, and get to know the kids’ department staff (supporting these stores is a great idea, too). Don’t force anything, but be genuine about it. It shouldn’t be a one-time deal, but an over time, thing. I worked at Powell’s Books in Portland, OR as the Kids’ Lead for a number of years, and we had a bunch of local kid lit creators come through and we’d talk picture books. Usually, it wasn’t even about their books, but the new releases that just came out. When it gets closer to your own release, they’ll be much more likely to order copies and want to host you for an event. So possibly higher quantities, and signing opportunities, too?
• Be willing to put yourself out there. This is definitely connected to the first idea. What I thought was really cool about Portland’s kid lit community was how they all supported one another. When someone had a new book coming out, they all went to the bookstore event and bought a copy. Go and mingle with your fellow local creators — get to know them, and let them get to know you. Do you have a card? Some will likely be active on social media and champion other kid lit work, or have a kit lit blog, and they could be a supporter of you — but they have to know who you are first!
  
• Have a social media presence and your own website. Some self-promotion is key! Let people know when your book is coming out; when and where you have upcoming bookstore events; if you’re also the illustrator, share your illustrations. It can’t always be about you, so share the release dates of your new creator friends and their events. Show support for your local bookstores — cool kids’ book displays, purchases you made. What’s happening soon — Children’s Book Week? Independent Bookstore Day? Get yourself in the mix.
  
• Plan and practice a presentation, and have a tie-in activity. I hope you like public speaking! If that gives you anxiety, start preparing and practicing. Plan a presentation beyond reading the book. How can you engage with a young audience, and make it a little more interactive? What might be a fun (possibly, even educational) tie-in activity you could do together? The more lively the event, the likelier for sales.

The more we have worked together, the braver I’ve become in asking for marketing help. For example, I came up with some classroom activity ideas to go along with the book, but I couldn’t make them look professional. I reached out to you, and the Charlesbridge team designed a spiffy looking activity guide to accompany the book. I’ve also reached out to ask if Charlesbridge would supply books for giveaway campaigns – you did! What sort of support should authors feel comfortable asking for? What support do publishers want to give? And what makes the marketing partnership between an author and publisher work? 
 
I think the most successful marketing partnership between author and publisher is when it can be a more collaborative experience. If you, the author, have relevant kid lit/book subject contacts that would help promote the book, tell us — we’d send out copies. Are you already tight with certain bookstores, and have the event coordinators’ contact info? Pass that along. And yeah, you had an idea for a tie-in activity guide that you would then be able to use at all your events. The publisher sees the value in that material, so of course we helped bring it to life! If you have a reasonable ask, that would help sell copies of the book, the publisher will try to help make it happen.

I’ve been thrilled that you have reached out to bookstores to find me virtual gigs. What helps you get an invitation for an author? What can an author do to help?
 
Those essential first steps I mentioned earlier are the building blocks for this question, too.

Kelly, you’ve been not only willing, but excited, to help promote your book! Do you remember our early conversations around author events (pre-Covid-19), and you essentially said "I’ll drive to any bookstore events you set up in MA and the states that touch it." Haha. That’s dedication. I knew then that you would be awesome to work with. While I don’t expect that level of determination, I admire the spirit, and it was nice to know you gave me the green light to really go for it. When events were starting to go virtual, you adapted, and even learned all of the various platforms that bookstores threw our way. You also worked on your presentation (you had a couple, depending on what the situation called for), even offering a meaningful and easy craft kids at home could make, so it definitely made my job easier.

​When you’re a debut, bookstores don’t have a backlist/sales to consider when making event decisions. However, if you’re putting in the extra work, I can better attempt to paint a picture in an event coordinator’s mind on what an event with this author will look like, what we can offer, and how that would be a draw for their community’s families. So, in short, be willing to open up your schedule and prepare!

Thanks Jordan! 

by Kelly Carey

​Is your writing journey ready for our new virtual environment? Is your social media presence ready to be an asset to your writing?

If you’ve been timid about social media in the past, our new environment is the perfect moment to rethink.

We can’t meet in person and those wonderful connections you could make at workshops, conferences and book events are either no longer an option or they’ve all gone online. It’s time to pivot and create those connections virtually. That means you need to build a strong social media game.

Even when we are back to face-to-face days, your writing career will benefit if your social media community is full and rich.
​
But are you stuck in a cycle of social media excuses that are holding you back? Let’s see. 

Excuse #1: Social Media Is A Time Suck

Everything can be a time suck and a distraction from your writing goals IF you allow things to obliterate your focus.  Setting an egg timer allowance of 15 to 30 minutes a day or a week can help remedy this excuse and I would argue you may actually find time saving and valuable information on social media.

In that short 30 minutes spent on Facebook, Twitter and/or Instagram you may find the #MSWL tweet from an agent looking for your exact book! Score! You may happen across a Facebook post about a revision workshop that is just what your middle grade novel needs. Win! You may see a Publisher’s Weekly article that a fellow author posted and it will make you more knowledgeable and aware of current industry buzz. Excellent!
​
You can use your goals and focus your social media efforts so they are productive. 

Excuse #2: Connections On Social Media Are Fake
​
Connections on social media are fake if you are being fake. Be your authentic self on social media and you will find real connections. I would argue that social media gives you the opportunity to make connections you might never have made if geographic proximity and chance were required.

If I read a book that I love, I tweet out praise and tag the author and/or illustrator and publisher. Almost 100% of the time one or all tweet back. There was NOTHING fake about my original tweet. It was genuinely motivated by my appreciation for a book. That is real. Social media gave me the mechanism to share my kind words directly with an author who I might never meet in person.  

If I come across a great article, interview or blog post and I repost it on Facebook, my fellow writing colleagues may appreciate the opportunity to see it. If I tag the author of the piece and thank them for their efforts there is NOTHING fake about my respect for the article, interview or blog post. If you go through the effort of putting something out to the internet universe, it’s nice when someone notices. I think the authors and blog owners that see me repost their work alongside kind words appreciate that I do that. Almost 100% of the time I get a response. And now we are connected.
​
Be authentic and your social media connections will be real. 

Excuse #3: Connections on Social Media Are Shallow
​
This is a situation of you get out what you are willing to put in. Granted, nothing can really replace the kismet meeting at a book launch that sparks a spontaneous conversation where you discover that you both had a childhood cat named Rex. BUT you can make connections that are deeper than ankle height. They will require effort and energy, just like any relationship. 

If you are a passive social media user who just lurks around the platforms and hits like or clicks a heart if you see something that you agree with or love, then yes, your connections will be shallow. Those options are like waving across the room to a colleague but refusing to walk over and shake someone’s hand. You need to shake hands and offer a bit of conversation. You cannot just wave. Instead of hitting like or punching hearts, make a comment. That comment shows effort and moves you into the realm of active participant. Be that person.  
​
If you engage in a meaningful way, your connections will be meaningful. 

Excuse #4: I Stink at Technology

Me too! Just ask my kids. But you are a brave creative individual who puts manuscripts in front of critique groups. You can wade into Twitter and/or Facebook. Start small. As we suggest with all goals, make your technology goals manageable. We would never set a goal of writing three novels in one week, so why set a scary social media objective? Decide that you are going to set up a Twitter account and commit to 15 minutes of Twitter time a day and one tweet a week. You can do that. Want to get better at using Twitter? Add in a goal of watching a Twitter tutorial online.

Here’s the good news. While you are learning and figuring things out and making mistakes, like sending out a tweet with misspellings or forgetting to tag the author whose book you are gushing about, you will barely have any followers! So who is really going to see it anyway? In the beginning the only folks who see your tweet will probably be your crit group and your best friend! You’ll have time to hone your skills before a crowd is watching.
​
You will only master technology if you take steps to improve your skills. 

Excuse #5: I Can Wait Until I Have a Book to Promote

No you cannot! Well before you have a book to promote and NEED your social media community you must put in the time to build the community and contribute to it.

I launched my debut book last month – in the middle of a pandemic that shut down everything! If I didn’t have social media, how would anyone have seen my book? The only reason I have followers on social media is because I posted and tweeted and tagged for years leading up to my book launch. The result was an online community ready to help boost news of my book because I had boosted their book news, retweeted their blog articles, and been a full participant in the social media community.

Even without the confines of the pandemic, my social media community puts my book news in front of WAY more folks than I could reach with face-to-face contact and to a much broader geographic reach.
​
If you wait until you need social media, it will be too late. 

Are you ready to up your social media game, create real connections and build a social media community that will benefit your writing career? Great!
​
(Now prove it by tweeting and/or reposting this blog!) 

~Guest blog by Jamie Tan

As a senior publicist at Candlewick Press, my job involves a lot of travel, conversation, logistics, and a ton of e-mail. When I started out in publicity, I walked in thinking that the job would be about reaching out to event and media contacts, acting as an author liaison, and being a public-facing representative of Candlewick Press. The job is that, but with a whole lot of fun and unexpected tasks, mostly involving troubleshooting when the random things go awry.
 
My typical day at the office involves a myriad of tasks. I set up events, pitch journalists, talk to my authors about plans for their upcoming titles, and contribute to the department hive-mind when we have queries or are looking for fresh leads. I spend most of my day responding to e-mail, checking relevant social media, and planning for future campaigns. In my head, I’m thinking at least two seasons (one year) ahead. It’s nothing compared to my editorial and design colleagues, who are often times thinking two years (or more) out.

My typical day at an event or conference involves being an author liaison and amateur photographer. When I am with authors, I make sure I know their schedules inside and out so that I know where we need to be, how to get there, and who to contact if an issue arises. I also want to make sure that the authors are as comfortable and event-ready as possible, which involves taking them out to coffee or simply walking around to ease their nerves. I’ve learned how to situate myself in an audience so that I can take the best photograph possible to be used in social media or a photo round-up post-event. I admit that I’m glued to my phone during events, whether it be I’m waiting for a call or text response to a question, checking to see if anyone has posted about my author on social media, or am trying to decipher the best way to get from point A to point B. For  publicists, a strong internet connection and access to their inboxes are musts.​

When I think about my job description, I think about it like casting a wide net. I’m trying to hit up every angle I can, even the unusual ones. I get my fair share of rejection, but I also have successes. It can be depressing to send out more than twenty e-mails and not receive a response, but it is gratifying when the twenty-first e-mail you send out gets an enthusiastic response. The one thing I’ve learned? Keep trying. You never know what’s going to happen!
 
My advice for authors would be to keep an eye out for opportunities. They are my partners in the publicity process, and I really appreciate it when an author has built relationships within the industry that result in being asked to participate in interviews and also appearances. Several of the authors I work with have really robust social media presences which are really helpful in keeping their names in the public eye. While the publicity department and I have access to a wider range of events, authors are able to tap into their local literary scenes and be aware of opportunities that I might not be.
 
Jamie Tan is a Senior Publicist at Candlewick Press and has her MA in Children’s Literature from Simmons College. Before working at Candlewick Press, Jamie worked in events and marketing at several independent bookstores. 
​You can find her on Twitter @thejamietan.

A Guest Post by Book Marketing Coach Colleen Riordan

Imagine for a moment that your books sell like cronuts in Brooklyn every time you publish a new title. Readers are flocking to the bookstores. They’re hyping your book everywhere—even before they’ve had the pleasure of cracking it open.
 
It’s the dream, right?
 
Avid readers want good stories. They want your stories. And, if they’re anything like you, then you know how excited these bookworms get. They’re scouring Goodreads and book blogs right and left, on the prowl for their next favorite story. But, they can’t love your book if they don’t know it exists.
 
This is precisely why authors need email.
 
The best book marketing, in its simplest form, is just passionately sharing your story with the readers who already want it.
 
Email makes that easy.

​The 3 Myths of Author Email 

Authors often argue that they don’t need to use email to communicate with readers. They feel it’s unnecessary, outdated, and time-consuming.
 
Can you blame them? Social media is exciting and ubiquitous. It’s easy to throw email to the wayside and chase the shiny new toys. Email has been around since the 1970’s, but that doesn’t mean it’s out-of-date. In fact, email is one of the most effective marketing tools today.
 
Let’s tackle some of the myths that authors believe about why they don’t need to email readers.

Myth 1:  Email is unnecessary. Readers will find the books if they really want them. 
​
Imagine if you had an email list of people eager to read your books the moment they get published. These readers are already passionate about what you do, which means they’re more likely to preorder or run out to the bookstore during that first week. If you had enough fans like that, you could hit the bestseller lists book after book.
 
The book industry has a vast reach. Books are promoted on television, social media, newspapers, and park benches. It’s fantastic because at any moment you might stumble across your next favorite story.
 
However, books have a lot of competition. Over your average day, you have access to entertainment non-stop. Your phone, computer, television, and radio are filled with high quality content. A great book has to break through all of that noise.
 
Take a moment to think about how you found the last book you read.
 
Did you stumble across it on the library shelves? Did your best friend gush about it for weeks? Did you use specific keywords to search for it (or something like it) online?
 
Most of us don’t have a system for discovering new books. We hear about them on television. We spot our favorite authors reading them on Instagram. We ask our librarians for recommendations.
 
But between the incredible entertainment already at our fingertips and the sheer volume of advertising we see everyday, even the most die-hard fans are missing out on new book announcements.
 
Typically, books in a series are published a year apart. That’s a long time for a reader to wait. You can’t expect them to religiously check your website or the bookstore on the first of each month, eagerly awaiting the next book’s release.
 
Can you see the flaws in this system?
 
You can’t rely on fate to notify readers about your books. It’s not reliable. It’s not repeatable. You need a method of notifying readers about your books every time something comes out.
 
If you want to a career as an author, you can’t put the responsibility of hearing about your books on your readers. You need to reach out to them and tell them about these amazing stories. This is why email is perfect.

​Myth 2:  Email is outdated because social media has taken over the internet. 
​
Social media is an entertaining way to interact with readers. You can quickly share photos, broadcast new messages, and engage with fans in real-time.
 
So, why not only use social media?
 
Social media networks like Facebook let readers follow their favorite author’s online presence. Here’s the catch: Facebook is not a direct communication channel. When an author posts their latest book announcement to their Facebook page or profile, Facebook’s algorithm decides which of your followers see it and when.
 
On average, less than 8% of your audience will see one of your organic posts on Facebook. These are your everyday, unpaid posts. For the average business page, the rate goes down to 2%. That means that a very small portion of your audience is seeing the post you worked so hard to create.
 
This percentage is variable of course. If you have an incredibly active and engaged audience who love you and regularly comment on your posts or share them, the algorithm will broadcast your posts to more of your followers. However, it still won’t be all of your followers.
 
Now, 8% might seem tiny, but it doesn’t mean you should skip Facebook entirely. It just means you shouldn’t put all your eggs in one basket. All of your social networks have this problem. You simply cannot reach everyone who is following you.
 
Why? Because Facebook—or whichever social network you’re using—is the middleman. You don’t get to decide who sees your posts. They do.
 
Social media networks limit the reach of a post for several reasons.
 
First, they tailor the newsfeed experience for individuals to show them more of what they already like and less of what they don’t. This is based off the how often someone engages with posts like yours and how much engagement your posts get.
 
Second, social media is technically considered ‘free.’ (It’s not. You’re exchanging your data for use of their platform.) However, Twitter, Facebook, and the rest of the social media networks are all businesses that need to make money to survive. One of the ways they monetize their platforms is by asking you to pay to reach more people through ads or sponsored posts.
 
With email, there is no middleman deciding who sees your message.
 
It’s direct communication. You write, and your subscribers get to make the active choice about whether they’ll read your email.

​Myth 3:  Email is difficult and takes time away from writing. 

As you can see from what we covered in the previous two myths, you can’t afford to NOT use email.

 
Without email, you’re taking the risk that even your biggest fans will never find the sequel to books they already loved. They won’t get the chance to share your new release on social media or borrow it from a friend. You’ll waste weeks on carefully constructed social media posts promoting something that few followers will ever see.
 
To choose to avoid email is to choose to spend more time on your marketing just to reach the same number (or less) of people.
 
Imagine having an eager audience just waiting to hear from you—with a smile and open arms.
 
With email, you can have that.
 
At the core of your book marketing, you need a reliable, one-on-one method for communicating with your fanbase. Email excels at creating real relationships with your readers.
 
In the author-reader relationship, it’s your responsibility to reach out with news about your upcoming releases, entertaining activities, and book signings or events. Readers have a plethora of entertainment to choose from. You can’t even become a choice if they don’t know you have something coming out.
 
Through email, you can personalize your messages and treat each subscriber as a unique, book-loving, fan—not just an email address. When your emails are entertaining, educational, and/or aspirational, you are rewarding each and every one of your fans, who will in turn, share their love of your books with the world.

​Colleen Riordan is a book marketing coach and the founder of Wild Ink Marketing. She has over eight years of experience in marketing and communications and a deep passion for teaching authors and illustrators how to sell more books and build their careers through the power of book marketing. 

To learn more about Colleen and Wild Ink Marketing, please visit Colleen at https://www.wildinkmarketing.com/. 

~by Amanda Smith

Lately, I have been thinking a lot about branding. Not only because we have been thinking, planning, and talking logo at 24 Carrot Writing (see the introduction post here) , but also because I have been working on my personal website. I am constantly considering how I want to present myself, and here at 24 Carrot Writing, while we come up with a lot of cool ideas, we always circle back to the question: “How does this fit in with our main directive?” So, what is branding and how does it fit onto a writer’s life?

Branding is the ways in which a person or company establishes their image. It is the promise they make to their customer and the thing that makes them recognizable. Branding includes core values, interactions, slogan and logo. Anything a business puts out into the world, including websites or promotional materials, communicates its brand.

Today, 24 Carrot Writing is thrilled to reveal our logo, designed by graphic designer Russ Nemec.

Our brand is built around goal-setting. 24 Carrot Writing encourages you to set monthly writing and craft goals, and to reward yourself with meaningful carrots along the way as motivation to keep moving forward. Our audience is writers of children’s books, and so, even though we are serious about those goals, we embrace playfulness.

Are you intentional about setting and attaining writing goals? Join our Facebook group, browse our Writing Goals tag, download a 24 Carrot Writing Goal Worksheet, and earn those carrots! If you consider yourself part of the 24 Carrot Writing community, or have contributed to our website, we  invite you to download our logo for your website. 

Join us on Wednesday for a post about branding for writers.
​

We've decided to shake things up this year for our annual writer's gift list. Instead of telling you what we like, we've asked our wonderful guest bloggers (aka gift elves) to share with you their illustrating and writing must haves. We are thankful for the excellent content these guests have provided to 24 Carrot Writing over the last three years. And they are doing it again - providing practical, fun, and sometimes frivolous ideas to add to your holiday gift list. At each author's favorite things, you will also find their newest books, because we all know books make the best gifts!

Kate Narita is the author of 100 Bugs! A Counting Book . When she's not out and about driving, teaching or cheering on her two teenage sons, Kate lives, writes, and hikes on a small mountain in central Massachusetts. Read more about Kate at www.katenarita.com.

Always on Sue Gallion's gift wish list are new fun or funky pencils. "That's the souvenir I get when I travel, too. A new or newly sharpened pencil can give me a tidbit of inspiration. Little notebooks to stash in my purse or around the house are always a favorite of mine, too."
And speaking of sharpening pencils, here's a one-of-a-kind gift for any writer or illustrator -- and yes, she has one on her desk. It was a gift she bought for herself a year ago.

Sue Lowell Gallion writes for children because she is passionate about children, reading, and any combination of the two. Her picture books include Pug Meets Pig, illustrated by Joyce Wan and Pug & Pig Trick-or-Treat received. Her upcoming books are an early reader series, Tip and Tucker (March 2019), written with children’s author Ann Ingalls and illustrated by Brazilian illustrator Andre Ceolin. Read more at suegallion.com.

Kate Messner says, "For bullet journaling, I love the medium-sized Leuchtturm 1917 notebook with dotted pages. An index, numbered pages, and terrific feeling paper make me happy to check on monthly and daily goals. 
I have a new favorite for everyday research, note taking, and brainstorming, too -- the F64 Expedient Notebook from Kyokuto. This one has reliable wire rings so it'll open flat on a desk along with a sturdy front and back cover so it's easy to hold in one hand while taking notes in the field. 

Matthew won the 2018 Caldecott Medal, as well as the 2017 Boston Globe-Horn Book,  for Wolf in the Snow. Congratulations, Matthew! Go to matthewcordell.com to learn more. For truly special gifts for the art lover on your list visit Matthew's Etsy store:   etsy.com/shop/MatthewCordellArt

Melissa Sweet has illustrated over 100 books as well as many toys, puzzles, and games for eeBoo. She has won several awards for both her writing and illustrating. Her most recent book is Some Writer! The Story of E. B. White.  Read more about Melissa at melissasweet.net.

Tami Charles' list is short and sweet:
1. Ginger tea with honey
2. Four Seasons by Vivaldi
3. Large sticky-note chart paper for plotting

Nancy Tupper Ling draws her inspiration from the multicultural background of her family and the interwoven fabric of familial culture which is, on the surface, seemingly everyday. Read more at www.nancytupperling.com/

Allison Pottern Hoch is obsessed with all things by Obvious State. "I have several of their posters and they now have this gorgeous line of journals at a reasonable price and I pretty much want all of them.

I also got this mug set for my birthday. Swoon! "

Allison Pottern Hoch is a writer and event coach with over eight years of experience in marketing, publicity, sales, and event planning. She’s worked with veteran authors, celebrities, and debut authors. For more information on her workshops and coaching services, visit http://events.pottern.com

"Item No. 2. The book On Writing Well by William Zinsser.
This is the writing book that makes me nod vigorously along as I read it. He get so much right about how to write well. The title says its for writing nonfiction, but I say it’s for anyone who writes anything."

Editor, Rob Broder reminds us of the greatest gift you can give the writer in your life: TIME. In the midst of all the holiday celebrations, writers still need time to figure out that plot point, listen to that character, and follow their muse.  "​I go for walks... or a run. And I think. I think on the story. Pushing all outside everyday life thoughts aside. And I think on the story. Play it over and over. What part isn't working. Why isn't it working and how do I get there, to make it work and make it flow.  Think, think, think.... until something comes to me.   Kind of like a mindful children's picture book walk."

Rob Broder is editor and co-founder of Ripple Grove Press. His debut picture book Paul and His Ukulele launched Fall 2018. To learn more about Rob, click here and here for more on Ripple Grove Press.

24 Carrot Writing co-founder, Annie launched her debut picture book Before you Sleep: A Bedtime Book of Gratitude this year in October. Her second book Night Train hits shelves Spring 2019. To learn more about Annie, anniecroninromano.com.

Annie featured these dishes a few years ago, and we still love them. Don't miss the Open Book Dinnerware collection through the Library of Congress gift shop. ​

​Kelly grabbed a store logo tote when a new local indie bookstore opened. It was a perfect carrot – and she even asked the owner to sign it! This year she is planning to take it back to book signings at the store so she can ask visiting authors to add their autographed to her tote. The Silver Unicorn Bookstore tote is available on their website, but you can visit your own local bookstore and grab a tote! 

And finally, a small gift from us: Melissa at Literary Book Gifts.com reached out to us in 2018 to tell us about her new line of literary gifts. We think you'll love the t-shirts and totes she has to offer. Enter the custom promo code 24carrotwriting20 at checkout and receive 20% off anything in the store, no minimum. The best gift of all? That code never expires! 

Please remember to support your local independent book store or order online through Indiebound.

​HAPPY SHOPPING!

Guest Blog by Casey W. Robinson 

I had the pleasure of meeting Casey at the NE-SCBWI conference as she was preparing for the release of her debut picture book, Iver & Ellsworth (Ripple Grove Press, 2018). Since then I’ve been to her launch and watched the buzz of her picture book grow. We are thrilled to have Casey join us to share the lessons she learned as she introduced her debut book  to the world.

Welcome Casey!

When it was all over, I asked my daughters to tell me their favorite part of the weekend. I expected them to say “Cookies!” They said it was seeing me so happy. “You had your really big smile on all day long, mom.”
 
Don’t forget your book, your story, your day will also be special and significant to others who get to be a part of it. Whatever the format, whatever the size, mark this moment in time and celebrate together. HAVE FUN. You only get one debut!
​

To learn more about Casey please visit her at www.caseywrobinson.com. To order a copy of Iver & Ellsworth go to www.indiebound.org/book/9780999024911.  

Thanks for joining us Casey! 

We are pleased to welcome Deb Shapiro, the president and founder of Deb Shapiro & Company, a public relations, marketing and media services and consulting business focusing on authors and books. A former journalist and bookseller with an MA in children’s literature, Deb worked for nearly 15 years in book publishing, creating and executing publicity and marketing campaigns for publishing houses large and small before launching her own company. She is also an instructor at the Columbia School of Journalism’s graduate publishing course and an active volunteer with several literacy organizations. She lives in Washington, DC with her daughter. We are pleased to have her here at 24 Carrot Writing to share her marketing experience and knowledge with us.
 
What sparked your interest in working in publishing?  
​I’ve always believed that if you can read well and write well, you have the tools to succeed in life. I knew teaching wasn’t the right fit for me, so I thought that if I were involved in the process of creating good books to put into the hands of young readers, I could help level the playing field for all kids and help spark a life-long love of story and learning.

At 24 Carrot Writing, we focus on children’s literature. What is the biggest challenge children's debut authors face in marketing their books?
There is a lot of white noise out there, especially online, and trying to break through it is a challenge. But most of that white noise is created because people are doing what they “think” they should do, either because it’s what others are doing and they believe that’s what they should do too, or because they just don’t know what to do. Thinking about who your audience is, and what your strengths and interests are in relation to the book, will help you craft a plan that will be more relevant and effective, and that in and of itself can help break through. It’s also important to realistically think about who your audience is. Some books are going to gain more traction in the educational marketplace than the consumer marketplace and visa versa, and you need to be open and accepting of that because if you are, then you can better assess how best to position the book and yourself to reach that audience.

Many debut authors do not know where to begin in marketing their upcoming books. What are some essential first steps debut authors should take in preparing for their book’s release?
Patience. Patience. Patience. Rarely do books take off within the first few weeks of publication. It’s a slow build as reviews come in and are shared and the books are put into hands, read, and talked about. There is a wide and varied window of opportunity for a book to find its way. Authors need to look at the process (or the adventure) as a marathon not a sprint; they need to be strategic, thoughtful, creative and realistic in how they consider what will help readers—or the people who put the books into these readers’ hands—understand the book.

What can a pre-published author do to prepare themselves for book marketing?  
Much the same as what a debut should do: be mindful of your audience and what is in your comfort zone as you consider any promotions. Your audience can see through the efforts if they are not authentic, so be true to yourself, and hard as it may be, try not to compare what’s being done for other books to what is or isn’t being done for yours. In the age of social media it can be difficult and disheartening at times, but try and remember just because you may see a lot of activity it doesn’t mean that it’s effective, that readers are responding, or that any of it is translating to sales. Focus on yourself and your book.

When you approach marketing a children’s book, be it picture book, MG, or YA, are there certain aspects or features you look for (i.e., timely theme, target audience) that shape your marketing approach?
All of the above. One of the things I love about marketing and promoting books for kids and teens is that there is no one right way to do it. What’s key is looking at each book and author and understanding what they separately and together bring to the table, and then assess how those attributes fit into any trends, timely events, etc. and then position the book and author accordingly.

What are the differences in the strategies employed to market a PB vs. a MG or YA? 
In some ways not much. At the heart of the process, it’s about having a good book to work with. That being said, with YA you’re marketing more directly to the book’s core audience--the teens; with picture book and MG you’re marketing more to the people who will put the book into the readers’ hands—parents, booksellers, teachers, librarians, grandparents, aunts, uncles… Each of these adults looks at a book differently so you need to adjust how you position the book to them accordingly. For example, an educator may want to know how this book could be relevant in the classroom, and a bookseller would want to know what kind of reader it will appeal to.

In your experience with marketing books, what are some of the most effective publicity approaches you have seen?  
It all comes down to my mantra about being true to the book and author and understanding the audience. We Were Liars by E. Lockhart I think is a great example of checking all of these boxes—and it started with a fabulous read. The concept of the book became the campaign—every element wove in the intrigue of the mystery involved as to who was or wasn’t telling the truth. Another example would be Little Elliot and the Big City by Mike Curato; Little Elliot is such a delightful, endearing character and he was branded through a strategic bookseller, educator campaign so by the time the book hit shelves, he was loved and recognized by the people putting the book into readers hands and they couldn’t wait to introduce him to their customers. I often see other campaigns try to mimic those that are most successful but they always fall short. Books--like authors, like people--are their own unique entity and should be treated as such. It’s helpful to look at past campaigns to see what worked, but then look to see how that element might translate and be appropriate for you.

Social media plays a large part in many authors' publicity efforts. In your experience, have you found social media platforms, such as Twitter, Facebook, and Instagram, helpful in promoting a new children’s book release? Are some social media platforms more successful than others in increasing a book’s visibility and, ultimately, sales?
For the most part, effectiveness comes down to the person, their approach and their authenticity more than the platform. Authors should not be made to feel that they have to be on social media; they should only do it if it’s in their comfort zone and they feel they have something to say and something to contribute to the conversation. I will say though that when thinking about platform, think about the audience of your book(s) and see where that audience may be spending more of its time.
 
What are some of the biggest pitfalls you see authors experience in marketing their work? Is there anything you consistently recommend they don’t do?  
Don’t Google yourself, don’t monitor your Amazon rankings, don’t compare yourself to others or compare your efforts to other’s efforts. Do communicate with your publisher, even if they don’t appear to be listening, keep them posted on what you have going on, and your ideas. Be patient with yourself and the process. Be true to yourself and your book.

Many authors team up for book events. What are the pros and cons of being part of a multi-author event? 
Pros: you can be introduced to new readers through the other author’s fan bases; it can be more fun and less daunting to be with others, too. Cons: disparate or clashing personalities. It’s important to make sure that the participating authors are all tapping into a similar age-range and that each of the participating authors plays nicely in the sand box with others.

Many authors spend much time and expense having “swag” printed for their book launches and events. Do you feel that swag, such as bookmarks, magnets, postcards, etc., is worth the effort and expense, or do you feel the book can stand on its own?
It all depends on the book, the author, the swag and the means of getting it out there. If you’re creating swag, make sure it’s something useful, it represents the concept of the book in some way, is a helpful reminder to the person who receives it of what the book is about, is age appropriate for the book/audience, and that you have a plan to distribute it. If you do a lot of school visits, for example, book marks or postcards can be useful because not every student is able to buy a book, and this way you have something to hand out so that each child can get something.

A recent trend in marketing books is the book trailer. Do you believe that book trailers have a positive impact on a book’s success? Are they more effective based on the target audience, such as picture book vs. middle grade vs. YA?
Trailers have become one of the contributors of the white noise out there.
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What can backlist authors do once the fervor of the launch has settled to continue to market and maintain interest in their books? 
There is no general, one right answer for this one. It’s all about looking at the book, the audience, and the author to assess what will keep momentum going.

Any other final thoughts you’d like to share with regards to the marketing and publicity of children’s books? 
I am asked time and again about doing cover reveals (sort of the new book trailer), and while it used to be an opportunity that could raise awareness in advance of publication, they have now been done so much that people really don’t take notice and it’s really not worth the effort to put one into place. Timing is key with so much of online efforts, and doing too much too far in advance of publication can be detrimental—by the time your book is out it seems old hat. With cover reveals and with book promotions in general, time and effort is better spent finding opportunities that will make sense for you and your book rather than looking to do something just because you’ve seen it done. 

Thank you, Deb, for sharing your book marketing expertise and insights with us!