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 They feel it’s unnecessary, outdated, and time-consuming.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 Email has been around since the 1970’s, but that doesn’t mean it’s out-of-date.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.
​
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! 

Guest Blog by Trisha J. Wooldridge
 
It’s a busy day, the small staff is trying to help more customers and do more projects than is humanly possible, and New Author flags someone down.

“I just published my new book and I’d like a signing next Saturday. How many copies do you want to buy? I’ll give you ten per cent off the cover price.”

Insert screeching record-needle scrape.

Bookseller gingerly takes the book that’s been thrust in their face. The cover art is... “interesting”, the title font looks hand drawn, and at first glance the bookseller has already found three grammar errors on the jacket copy. There is no barcode nor a price, and the spine isn’t centered.

“So how many copies do you want to buy? I’m a local author!”

Some version of this happens frequently at the store where I work. We have a fairly large local author selection, because we try to support our community. A fair number of those books hurt the appearance of the section because of bad covers; many cause confusion with staff when hand-written price stickers fall off in humidity; and some customers walk away from the entire section when they find books riddled with errors.

This makes most bookstores wary about working with “local authors” or “indie authors.” Most traditional authors don’t contact us; we get their information from publishers. Some newer authors with traditional publishing houses do contact us—usually after first contacting us via email or on the phone, as our website suggests (ALWAYS check bookstore websites for preferred communication about selling books or doing events)—and that interaction is usually simple: 

“Hi, I’m a New Author, and I’ve got a book coming out in a few months with Publisher, would you be interested in hosting an event? Here’s the information on the book.”

New Author hands Bookseller a bookmark, sell sheet, card, or Advanced Reader Copy. Bookseller can easily order books from a distributor or publisher at their usual discount of 45-55% off cover. There is plenty of time for the bookseller to promote the event.

You’ll notice I’ve tied my examples with events. An event sells books. While most people who go into bookselling love books, they can’t be a bookseller without making money. Bookstores have limited space. A book on a shelf needs a reason for people to get engaged. An event is meant to get readers engaged. So, if you want a bookstore to consider carrying your book, see if they’ll consider hosting an event for your book.
Here are the most basic things a book store needs to consider your book event:

• A quality product. It’s painful to say, but too many books have poor covers, have not been edited (or have been poorly edited), have misaligned formatting, and/or are missing basic information a bookseller needs. While we’ve worked with some presses who also have these issues, this is mostly a problem with self-published books.
• A means to make money by hosting this book event. Can the bookstore order your books at a profitable discount (as mentioned above, usually 45-55% off cover)? If your books are ordered through a publisher or distributor, can the bookstore return unsold copies? Are you willing to sell within the bookstore’s consignment parameters (usually 30% off cover, often with a flat stocking fee)? (This also means, for authors setting their own prices, that it is important to consider the bookstore’s cut.)
• A minimum of a two to three month lead time. Many local publications want press releases weeks or months before an event. Many local calendars need time to approve listings. The bookstore wants to include the event on their mailing list, blog, and social media several times. Books about sales often cite a person needing to hear about something multiple times to remember. There needs to be time to create, print, and distribute flyers. The bookstore needs to make sure it has sufficient staffing. The more time to plan, the better chances of having a strong-selling event.
• An idea of what you, the author, will do to promote this event. Will you share our event listing? Our blog posts? Retweet us? Tell your fans to buy your book at our store? Invite friends and family to the event? Will you get your friends, family, and fans to share, retweet, and talk about the event? Don’t expect the bookstore to carry all the promotional weight. The best events we’ve had, hands down, are the ones where the author was involved in the promotion.

If working with you is a positive experience, even if an event wasn’t huge, a bookstore will be willing to host future events by you. Here are a few tips for being someone a bookstore loves to work with:
​

• Have a press kit ready to send or easy to access on your web page. A good press kit includes:
  • Bios of varying lengths
  • Short book descriptions
  • Cover images that can be used in flyers and online
  • Author photos that can be used in flyers and online
• Answer emails in a timely manner, usually within 48 business hours.
• Share, retweet, and promote the event along with the bookstore.
• Do not call the bookstore every day or every week for updates on the event or sales.
• Be friendly, fun, and approachable at the event.
• Have readings from your work ready and practice them.
• Do not yell at the bookstore staff if few people or no one comes to your event. Believe me, we already feel bad—and it is a financial loss for us because we do spend staff hours and funds promoting and marketing.

 
Boiled down to a “simple” answer, if you want a bookstore to carry your book, be a professional the bookstore wants to work with. Success of your book and book event is a success for the bookstore. When thinking about approaching a book store, have in mind what will make this partnership fun and profitable for all parties involved.

NOTE: Trisha is currently working on Annie's Book Stop's Annual Small Business Saturday event. They host a group of authors for a day of readings the Saturday after Thanksgiving. Small Business Saturday is an event created by American Express where cardholders get extra bonuses for shopping local at participating stores. Annie's Book Stop shares that extra promotion by inviting local authors in to spotlight their work, and this year they are focusing on children's book authors.

Annie's Book Stop of Worcester is at 65 James Street, Worcester, MA, and will host authors from 12:00 PM - 6:00 PM with scheduled readings, Q&As, and snacks through the day.

If anyone is interested, shoot Trisha an email at trish@anniesbooksworcester.com or trish@anovelfriend.com (both come to the same place; one is easier to misspell than the other). ​

​Guest Post By Alison Goldberg
 
As I started thinking about this post, I asked critique partners and friends for their questions about promoting a debut picture book. In addition to nuts and bolts questions about swag and event planning and blogs, one person asked: What if you (secretly) don’t want to promote?
 
And I kept thinking about this question, since it underlies a lot of conversations I’ve had with writers on this topic.
 
For many of us, creating a promotion plan for a first picture book can feel intimidating, at times overwhelming. It requires diverting precious time away from writing and/or illustrating. The activities involved may demand a different set of skills from the ones honed to polish a manuscript for publication. Just the idea of marketing ourselves can be challenging, and for the introverts among us, particularly exhausting.
 
My first picture book, I Love You for Miles and Miles, released from Farrar, Straus and Giroux on December 26, 2017.  During the past year I’ve tried several different strategies to promote my book. I have also not tried several different strategies to promote my book.
 
There are countless ways to tackle book promotion. As I reflected on this question, I realized that a big part of making this process feel manageable, accessible, and worthwhile—something that I actually wanted to do--was to come up with my own goals for success.
 
Book promotion isn’t just about trying to sell more books, but I think sometimes the resistance to promotion is the feeling that’s the only thing we’re supposed to be doing. But there are so many other reasons to leverage the opportunity of a book launch to promote--especially as a debut. It can be empowering to redirect our focus to goals that support our ongoing careers as published authors, help us develop new skills, strengthen our communities, and connect us to kids, families, librarians, booksellers, and teachers.
 
Just like each of our writing journeys will vary, each of our book promotion paths will vary. What do you hope will happen when you send your new book out into the world? Who do you want to share it with? Who do you want to connect with? What skills do you want to develop? What steps can you take with your debut that will help you launch your next book? How can you use the opportunity of this book launch to support your community?

My Book Promotion Goals:
 
1) Develop infrastructure for my writing business
As a new children’s writer, I had invested a lot of time and resources in developing my craft, far less in developing my writing business. One goal was to use the opportunity of my launch to create more business infrastructure. What did this look like for me? I overhauled my website, and created contact lists for email outreach to friends and family and a postcard mailing to bookstores and libraries. All of this was pretty time consuming, and the website was resource intensive, but these things will be in place for my next book launch too.


2) Tell my story as a debut
At every step in my writing journey I have read the profiles of writers, often in the form of blog posts hosted by other writers. Another goal I had was to tell my story as a debut in order to give back to this supportive children’s writing community with content of my own. This was easy to do, free, and great preparation for a media interview request when it came along. (Here are those posts and interviews.)

And telling my story as a debut connected back to my goal of developing business infrastructure. I wanted to establish a greater presence online to make it easy for potential readers, reviewers, and editors to learn more about me as a writer.


3) Connect with my local bookstores and libraries.
I love my local indies. I love my local library. A big part of my excitement for launching my book was the chance to connect with and support bookstores and libraries in this new role. I prioritized events in these venues and this has been a highlight for me--a chance to get to know more bookstores in my area and share my book (and crafts and cookies) with kids and families.​ 

Alison Goldberg is the author of the picture book I Love You for Miles and Miles, illustrated by Mike Yamada (Farrar, Straus and Giroux, 2017). Before becoming a children’s writer, she worked for economic justice organizations and co-wrote the resource guide, Creating Change Through Family Philanthropy: The Next Generation (Soft Skull Press, 2007). To learn more about Alison visit her website at ​alisongoldberg.com/




​To purchase I Love You for Miles and Miles go to: 
www.indiebound.org/search/bookkeys=i+love+you+for+miles+and+miles or  
www.amazon.com/I-Love-You-Miles/dp/0374304432/ref=sr_1_1?ie=UTF8&qid=1528207432&sr=8-1&keywords=i+love+you+for+miles+and+miles

Signed copies are available through www.portersquarebooks.com/alison-goldberg

Guest Post by Lisa Rogers

Please welcome author and librarian Lisa Rogers to 24 Carrot Writing. 

Lisa is an elementary library teacher in a K-5 school in Wellesley, Massachusetts. Her debut picture book, 16 WORDS: WILLIAM CARLOS WILLIAMS AND THE RED WHEELBARROW (Random House/Schwartz & Wade Books) will hit shelves in the spring of 2019. 

From her unique seat as both an author and a librarian, we asked Lisa to share her thoughts on how books are selected for classroom and school library shelves. 
 
Thank you so much for joining us Lisa! 
​

How do librarians and teachers choose their books? And how can you get your book in front of them?

Here’s how I choose: Readers, teachers, budget and time. Ideally, I would know and be able to read all of the new books and order the ones I think my readers would most enjoy. I preview as many books as possible before ordering and I've been focusing on books that offer characters and perspectives that reflect our diverse world. It all comes down to choices.

First, my readers. What do students want? What do they like, and what might I present to them? Sometimes, choices are simple: yes, that new Fenway and Hattie; Jasmine Toguchi, definitely. When School Library Journal advises grades 5-8 for a middle grade book that sounds amazing, I request it from the public library and read it before buying. And, I must think about readers like the first-grader who desperately sought nonfiction truck and tank books. For that, I dug into my book distributors, Mackin and Follett, and used their filters and previewing tools to make sure the books I chose were age-appropriate and had enough information to satisfy my student.

​Next, teachers. What can I buy that might help them fill a hole, refresh an old reading list or invigorate a lesson?  That takes curricular familiarity as well as a deep knowledge of my own library’s strengths and shortcomings. When Carolyn Crimi’s The Louds Move In came out, I knew it would be perfect for the third-grade teacher looking for onomatopoeia-based picture books. Miranda Paul’s Water is Water, I knew, would fit in two places: kindergarten study of the water cycle and third-grade nonfiction genre study.
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