Preeti Chhibber: Making publishing more diverse and dynamic

NetGalley Insights chats with writer and publishing professional Preeti Chhibber on her career path, her mentors, and the other people making publishing a more inclusive industry.

There’s a lot of talk in the publishing industry about efforts to address diversity and inclusivity. We’ve listened to panels all year long from Tech Forum to London Book Fair. Preeti Chhibber is one of the people doing the work to make it happen.

Frankly, she does it all! She points out where the publishing industry is falling short in terms of representation, both at a systemic level and in the titles that are being published. She produces content to make the industry more diverse, like her contribution to A Thousand Beginnings and Endings and her podcast Strong Female Characters. And with her Marginalized Authors & Illustrators database, she is giving publishers no excuse for a lack of diverse hires.

She spoke with NetGalley Insights recently about how her career path evolved, her mentors and collaborators, and the other players who are making publishing a more inclusive and dynamic industry.

Tell us about your career trajectory: What was your path from children’s publishing to being a professional cultural critic and enthusiast, a podcaster, and all-around advocate for a more inclusive pop culture?

It wasn’t so much a path as it was something that happened side by side. My work in children’s publishing inspired my advocacy because I was noticing a trend of our kid lit to be very monochromatic. It was rare to see books by and about people of color. Then I started realizing that we work in an industry where we can affect what is and isn’t published, and if I was going to be vocal about books, why not look at the rest of the media landscape as well? I had a vested interest, after all. In terms of the criticism and podcasting, I’ve always written about pop culture on my own time – I grew up on the internet and in the era of blogging and WordPress, so when I realized I could get paid to do this, I had a portfolio ready to go when I started pitching.

What brought you to book publishing and what were your early days in the publishing industry like? What piqued your interest? What challenges did you face?

Book publishing sort of happened by accident. I don’t mean that in a “I fell into this job” kind of way but rather  “I can’t believe this is a real job.” I was, as so many young South Asian American students are, pre-med when I was in undergrad. And I was struggling because I am terrible at math and science. I’ve always been more of a reader. My brother was in New York at the time, and he met a woman who worked at Tor and he facilitated a phone call between us where she told me about her work, and I was flabbergasted. This isn’t an industry discussed in the Indian community at all. We get doctors, lawyers, engineers. Publishing? What is that. But as soon as I realized that I could be a part of something that got books into readers’ hands… that’s all I wanted.

Chhibber contributed to this 2018 short story collection reimagining the folklore and mythology of East and South Asia.

Early days were interesting. I got my start in kid lit at Scholastic in 2008, and it was just when the industry was starting to think about how we were being impacted by the Internet. I saw the rise and fall of several e-readers and e-reading apps in the span of four or five years. It was so frustrating to watch as an entry level position without the power to say anything!

It’s always a challenge in publishing to disrupt the status quo. The industry is so old and so slow to change, but it needs to change. When I started, it was so difficult to get noticed without knowing someone (I only got my job by meeting someone at NYU who put my resume in for her position when she left). Publishing is not an equitable industry, and it’s something that needs to be addressed. The pay is low, the work is intense, and you have to come from some kind of privilege to be able to afford to work. I heard an HR rep on a panel once brag about an entry level assistant who had to work an extra job in addition to her work at the publishing house in order to afford to live in the city. I’m… still mad about it.

Who were mentors and colleagues who inspired and encouraged you along the way? How did they help you find your path?

In 2015 I started working for a woman named Ann Marie Wong, who was the boss that I think people dream about. She was so supportive and encouraged new ideas – together, we started the We Need Diverse Books (WNDB) partnership with Scholastic Book Clubs as well as a Young Adult initiative. I also want to shout out Sona Charaipotra, who co-founded Cake Literary, a book packager for commercial, diverse children’s literature. She, as a fellow desi woman in publishing, has always been available for conversations about new jobs, or negotiating, or in my case, quitting the industry to write full time for a year. It can be difficult to navigate the business side of some of these old companies, and having women of color around who have done the Thing and can use their experience to help guide you is invaluable.

What has it been like to go from working on behalf of other people’s books to being a writer yourself? Was this always the goal or was it something that developed along the way?

Writing is definitely a goal that developed along the way. It was just so far out of my understanding as something that I could do. Growing up, I had Arundhati Roy or Jhumpa Lahiri as examples of Indian women who were writing for a living. And… I am not either of those women, who are literary bastions of excellence. Early on in my career, an executive said that it was so important to understand the line between Writer and Publisher, and knowing what side you stood on. I know now what a ridiculous thing that is to say, especially considering how many of my colleagues are incredible writers… but when I heard it at the time, it stuck with me for years.

But, as I started noticing what books were being published, I thought I had something to say, a book to write for the kid I’d been. The kind of stories I wished I’d had. So here we are.

It’s been an interesting experience, because I know the publishing side so well, but I’m not as familiar with being a writer… and none of those writerly insecurities are stymied by knowing what’s going on behind the scenes. They might actually be exacerbated by the fact? Like, I can imagine what the meetings are like discussing a book which is not helpful, ha!

We know that moving forward is a collective effort–who have been your biggest supporters? Who are some others that are doing important work to make publishing more inclusive?

I already mentioned Ann Marie Wong and Sona Charaipotra above—but I’ll add women like Dhonielle Clayton, Ellen Oh (who were our colleagues on the side of WNDB when we launched the SBC partnership). In terms of who is doing good work right now to make the industry more inclusive? Patrice Caldwell and her People of Color in Publishing organization, Alvina Ling was an inspiration when she started the diversity committee at Little Brown. And honestly, every single publishing professional who speaks up about the inequity of the industry, many of whom I’ve had the privilege to work alongside like Kait Feldman, Celia Lee, Cassandra Pelham, Trevor Ingerson, Eric Smith, Jennifer Ung, Cheryl Klein, Nancy Mercado, Namrata Tripathi, Zareen Jaffrey. And so many writers (including the aforementioned Ellen, Dhonielle, and Sona) who won’t let publishing coast, like Daniel José Older, Justine Larbalestier, Laurie Halse Anderson, Heidi Heilig, Kayla Whaley—I could go on and on and on, this list is by no means exhaustive, but there are so many incredible people doing the work. We’d be here for hours!

Tell us about the efforts you have made to create communities in publishing, like your Marginalized Authors/Illustrators Database.

Yes! I created the marginalized authors/illustrated database because there is a thing in publishing called IP (intellectual property) – where the publisher will come up with an idea and then hire an author to write the book. I was noticing that editors tended to keep going back to the same list of cis, straight, white authors and I wanted to do what I could to equalize the playing field as much as I could… so I created a resource for editors to find a more diverse group of possible creators. It throws the excuse of “Well, I just can’t find any” out the window. Here! They found themselves for you!

[To request access to the database, fill out this form!]

Bio: Preeti Chhibber is a YA author, speaker, and freelance writer. She works as a publishing professional. She has written for SYFY, BookRiot, BookRiot Comics, The Nerds of Color, and The Mary Sue, among others. Her short story, “Girls Who Twirl and Other Dangers” was published in the anthology A Thousand Beginnings and Endings (HarperCollins, 2018), and her first book, Peter and Ned’s Ultimate Travel Journal comes out this year (Marvel Press, June 2019). You can find her co-hosting the podcasts Desi Geek Girls and Strong Female Characters (SYFYWire). She’s appeared on several panels at New York Comic Con, San Diego Comic Con, and on screen on the SYFY Network. Honestly, you probably recognize her from one of several BuzzFeed “look at these tweets” Twitter lists. She usually spends her time reading a ridiculous amount of Young Adult but is also ready to jump into most fandoms at a moment’s notice. You can follow her on Twitter @runwithskizzers or learn more at PreetiChhibber.com.


Interviews have been edited for clarity and length.

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Ask a Podcaster: Books & Boba

Podcasts are an important part of the cultural criticism and influencer ecosystem for books, and beyond. And because audio is such an intimate medium, with hosts speaking directly into the ears of their audience, podcasts develop particularly dedicated fan bases and engaged communities. In Ask a Podcaster, we hear directly from different book-related podcast hosts to help you learn more about their community, what they are interested in featuring on their podcasts, and how they find their next book picks.

Name: Reera Yoo & Marvin Yuen

Show: Books & Boba

Books & Boba is a book club and podcast dedicated to spotlighting books written by authors of Asian descent. Every month, hosts Marvin Yueh and Reera Yoo pick a book by an Asian or Asian American author to read and discuss on the podcast. In addition to book discussions, they also interview authors and cover publishing news, including book deals and new releases.

What should book publishers know about your audience?

Marvin: They are a diverse group of readers, and not necessarily all Asian-American. Our listeners range from Asians from across the diaspora (including the UK, Oceana, and expats) and non-Asian readers who are interested in different perspectives in the books they read. Those that follow us are generally interested in our focus on Asian authors, representation in media, and own-voices narratives.

How do you pick books and authors to feature on your podcast?

Reera: We have a Goodreads list of books that our audience recommend us. We try our best to alternate genres and feature different representatives of the Asian diaspora experience.

Marvin: We make it pretty clear in our podcast opening that we focus on books written by Asian and Asian diaspora writers. We have been more flexible in terms of the genres we cover and have read both fiction and non-fiction novels, and everything from contemporary thrillers to regent-era historical fantasy.

What do you love best about your audience?

Reera: I love their passion and enthusiasm for Asian and Asian American literature. Many of our listeners are avid readers who have felt frustrated by the lack of diverse representation in publishing. Some are from countries where it is particularly difficult to find books by authors of color. So, it’s always wonderful to see their excitement in learning about upcoming and undiscovered books by Asian and Asian American authors.

Marvin: It’s always great to see new listeners who discover new books through our podcast, but I’m especially excited when our members engage with us on our Goodreads forums. Part of what we want to build at Books & Boba is a community of readers who are excited about the breadth of narratives coming from Asian authors.

What do you think is unique about podcasting as a medium for book lovers and for cultural commentary?

Reera: Reading is often a solitary activity. When you finish a book and feel your outlook on the world shift, it can be disappointing when you don’t have anyone to share your experience with. I think literature podcasts make the reading experience more intimate and less lonely. It’s like being in a book club with your friends, only you don’t have to go through the hassle of scheduling.

Marvin: I think podcasts in general are a great medium because listening can be a passive activity, so our listeners can listen to us discuss books while driving or working on something else, so you can be productive and learn stuff. Podcasts maximize efficiency!

If you use NetGalley, what strategies do you use to find books to request?

Reera: We often look through our list of forthcoming books by authors of Asian descent and search on NetGalley if they are available. We also consult [NetGalley newsletters] to see if there are any new books we might be interested in reading for our book club.

What trends in the book industry are you most excited by?

Reera: We’re very excited by the surge of sci-fi and fantasy novels by marginalized authors. It’s fascinating to see how these authors are injecting their heritage and changing how we see race, gender, and sexuality in sci-fi and fantasy.

Marvin: Like Reera, I’m excited in the emergence of speculative fiction from Asian and other authors from traditionally marginalized communities. Don’t get me wrong, I still enjoy the classics and family dramas about intergenerational issues and immigrant struggles, but seeing fantasy inspired by the Three Kingdoms era and science fiction that uses Eastern concepts as more than just window dressing will always bring a tear to my eye.

What podcasts are you listening to?

Reera: Since we are a part of the Potuck Podcast Collective, we listen to a lot of our fellow members’ podcasts, which include Good Muslims, Bad Muslims, They Call Us Bruce, Korean Drama Podcast, and KollabCast.

Some book-related podcasts we like to listen to are First Draft, Book Riot, Minorities in Publishing, and 88 Cups of Tea.

Marvin: In addition to producing several podcasts (including Books & Boba), I also listen to a lot of (too many really) podcasts! Speaking of book clubs, I follow the granddaddy of book club podcasts Sword & Laser, I also listen to pop culture discussion podcasts like Pop Rocket and Pop Culture Happy Hour, comedy podcasts like Hello from the Magic Tavern, and anything from the McElroy family, and of course our fellow podcasts from the Potluck Podcast Collective!

Follow Books & Boba on their website, Twitter, Instagram, Facebook, and Goodreads.

And be sure to check out our whole Ask a Podcaster series!

*Interviews have been edited for clarity and length

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Ask a Podcaster: Not Now, I’m Reading

Podcasts are an important part of the cultural criticism and influencer ecosystem for books, and beyond. And because audio is such an intimate medium, with hosts speaking directly into the ears of their audience, podcasts develop particularly dedicated fanbases and engaged communities. In Ask a Podcaster, we hear directly from different book-related podcast hosts to help you learn more about their community, what they are interested in featuring on their podcasts, and how they find their next book picks.

Name: Chelsea Outlaw and Kay Taylor Rea

Show: Not Now, I’m Reading

Now Now, I’m Reading is a bi-weekly podcast where hosts Chelsea & Kay discuss what they’re reading and loving. Their guiding principle is that they want to read things that make them happy. From comics to romance, through science-fiction, young adult, crime, or fantasy. If it can be classed as genre fiction, it’s something they’ll gush about.

Chelsea & Kay aim to be critical media consumers, but strive to make Not Now, I’m Reading a space for positivity and celebration of media that gets it right.

Chelsea, co-host of Not Now I’m Reading

Kay, co-host of Not Now, I’m Reading

 

 

 

 

 

 

 

 

 

What do you love best about your audience?

Kay: Personally, I love how excited they are to hear about what we’re reading and that they’re just as happy to share their current media favorites with us. Our listeners tend to be heavy social media users and we interact with quite a few of them through Twitter and our Patreon.

Chelsea: Similar to Kay, I love the fact that our audience feels so much like family. Whenever they reach out over Twitter to discuss an episode, give their feelings about a rec we gave, or to recommend us something in return, it feels like such an equal exchange for love for a thing!

What should book publishers know about your audience?

Kay: Our listeners skew heavily female, which makes sense given how much airtime we devote to romance and fanfiction. Our listeners are also more likely to pick up ebooks and audiobooks, at least the ones who’ve reached out to us. Accessibility is important, for us and for them. We provide full transcripts for every episode of our podcast, so we actually have a fair number of ‘listeners’ who read instead of listen as their primary means of consuming Not Now, I’m Reading. We embed links in the podcast transcript and show notes, too, which makes it very easy for our listeners to click on whatever we’re talking about and snag a copy while they’re still listening to the episode!

Chelsea: Our audience is always on the look for titles that are diverse, current, challenging takes on tropes or themes they love. We are proud of the fact, and our readers respond well to the knowledge that, in the history of our podcast, we haven’t had a book by a cis straight white man as our main focus. Our selections tend to skew heavily towards newer releases, with the exception of YA and middle grade titles, for which we tend to look more towards the backlist.

What do you think is unique about podcasting as a medium for book lovers/cultural commentary?

Kay: There’s something incredibly personal about book podcasts, and not just because there’s something personal about the human voice. Is that a creepy way of putting that? I’ve always felt a sense of intimacy with radio and podcasting. Especially when you have a very informal chatty format like ours, it’s really like you’re sitting down with a couple of your friends to talk about the things you’re enjoying. And while reading is most often a solitary pursuit, I think many book people love discussing what we’re reading and what we’re thinking of reading and how all of those things compare to things we’ve read. Sometimes you don’t have people in your daily life who are big readers, and that’s okay! But it’s nice to listen to other bookish people and media geeks enthusiastically discussing stuff they love. I mean, we love it so much we record ourselves doing it and then send it out into the world for other people to listen to!

Chelsea: Perhaps this feels a bit dramatic, but in a time when it feels like the educational fabric of our country is unraveling bit by bit, we love that we are able to provide a fun, welcoming, open discussion of books and reading in a way that addresses books as they interact with so many other aspects of our lives. Like Kay said, reading can be such a solitary activity, it can feel so good to feel a connection to other people who are reading, and to the world at large through the written word. We try our hardest to be open about our mental states and lives as they relate to the books and media we’re consuming, and that honesty and the personal and cultural overlap is what I’ve always loved most about book podcasts, especially more casual ones like ours.

How do you pick books and authors to feature on your podcast?

Kay: We exclusively feature genre fiction on the podcast, and mostly tend towards romance and SFF. We feature YA, mystery, women’s fiction, and other genres, as well, but romance and SFF are our big two. We also don’t feature any books by cishet white men. There are plenty of places their work is being featured, they don’t need our airtime, too. We also try to have the books and authors featured reflective of our person reading. Both of us set pretty high goals on the numbers of women/POC/LGBTQIA+ authors and characters we want to see in the books we’re reading. We also aim to talk about new releases within a month of launch date, but we pre-record episodes because of scheduling constraints, so it’s not always guaranteed. As far as authors we interview? At this point they’ve all reached out to us first, but we have a bit of a dream list of people we’d love to have on to talk with us.

Riven by Roan Parrish, a recent interview subject on Not Now, I’m Reading

Chelsea: Kay pretty much summarized it nicely, but I will also add that we run polls as part of our Patreon, which is where we try and feature more backlist titles and books that revolve around central themes or tropes, which our patrons can then vote on. We choose these titles by the same guiding principles Kay laid out, but this avenue also allows us to interact with our audience in a more engaged way!

If you use NetGalley, what strategies do you use to find books to request?

Kay: Is it awful to say I don’t really have a strategy? It’s not very Slytherin of me, surely. I’m usually already coming to the site with abbook or an author or very rarely a rough target release date in mind, on the off-chance we have an unexpected schedule gap for a specific air date. I do less browsing and more targeted searching.

Chelsea: Whereas, being the Hufflepuff in this scenario, I go entirely by window-shopping feel! I have most of the major publishers for our two biggest genres (SFF and romance) bookmarked and once every few weeks I’ll go and just browse by cover art, author familiarity, or just things that catch my wandering eye. In and of itself it’s not really much of a strategy, but the more browsing I do the better my gut intuition becomes.

What trends in the book industry are you most excited by?

Kay: I’m terrible about keeping track of trends! I tend to find new authors and subsequently binge their backlist titles, so I’m not always great at staying on top of new releases. I hope it’s not a trend (since that implies it’ll end relatively quickly), but I do love that even self-pubbed and small press books are starting to be more readily available on audio. At least 50% of the novels I read consumed in audiobook format. I’m also a big fan of how many ‘spinoff’ series are being picked up by mainstream publishers. For instance, Alisha Rai recently sold a spinoff series of her Forbidden Hearts books, which Chelsea and I adore. The first book in the new series will focus on the sister of a heroine from the previous series.

Chelsea: Like Kay mentioned, I am thrilled by the rise in audio consumption and availability. We consume so much of our own media in an audio format, and we know a great number of our listeners do as well, that it’s really exciting to see smaller presses get that audio treatment. On a smaller scale, I’m really excited in what seem to be trends towards musicians in romance and WAY less grimdark in SFF. I’m all about both of those things, very very much so!

What podcasts are you listening to?

Kay: Chelsea is much better at keeping up with podcasts than I am. I do so much audiobook reading, I’m usually racing a library-induced deadline to finish books before they’re due. I’m a longtime listener of Reading the End. We’re friends with Jenny and Jenny, the co-hosts, and I’ve done a guest appearance with them chatting about fanfiction. I also regularly listen to Overinvested, Smart Podcast Trashy Books, Ride or Die, Fangirl Happy Hour, Radio Free Fandom, and When In Romance. There are so many great ones out there that it’s tough to keep up!

Chelsea: Oh, buckle in friends! At last count, I had well over 60+ podcasts in my reader feed, and at least half of those are book are book industry-related. For general news, it’s hard to beat Book Riot as the standard. I will listen to the Jennys at Reading the End the minute their podcast comes to air, and the same goes for all of the podcasts that Kay mentioned! I also love several other genre related podcasts, including SFF Yeah!, The Wicked Wallflowers Club, Whoa!Mance, and Heaving Bosoms! I also listen to a ton of general pop-culture or, like, book-adjacent podcasts, especially: Food 4 Thot, My Brother, My Brother, and Me, Be the Serpent, Desi Geek Girls, Get Booked, The Popcast, Adventure Zone, Critical Role, Thirst Aid Kit, and Who Weekly. And while these are probably only of use to those who find themselves on the democratically liberal end of the spectrum, I would be remiss not to mention the fair amount of current event and political podcasts I listen to (like, four times as many as this time two years ago, go figure): Hellbent, Hysteria, Why is this Happening, Trends Like These, The Wilderness, Keep It, Lovett Or Leave It, and Queery. I told y’all, I have a bit of a podcast problem!

Follow Not Now, I’m Reading on Twitter or on their website.

And be sure to check out our whole Ask a Podcaster series!

*Interviews have been edited for clarity and length

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Case Study: The Trans Generation by Ann Travers

How NYU Press used strategic timing, leveraged comp titles, and engaged with NetGalley members to make The Trans Generation a success

On NetGalley Insights, we highlight the successes of NetGalley publishers and authors, and share some of their strategies. Today, we’re talking with Betsy Steve, publicity manager at NYU Press about how she used NetGalley to ensure that The Trans Generation: How Trans Kids (and Their Parents) are Creating a Gender Revolution got the enthusiastic launch it deserved.

Published on June 5, 2018, The Trans Generation uses interviews with trans children and their parents to explore gender in the 21st century, and the experiences of navigating schools, healthcare, and society as a trans youth. Written by trans activist and advocate, Ann Travers, The Trans Generation is designed for both academic and popular audiences.

Our audience is always eager to learn more about how others are planning their publicity and marketing efforts on NetGalley. Where did NetGalley fit into the overall strategy and timeline for The Trans Generation?

At NYU Press, we find that NetGalley exposure plays an extremely important role in elevating the titles that we believe have potential for a more general readership. These are also titles that we want on librarians’ and booksellers’ radar as soon as possible.  We pay close attention to early feedback from users as it helps us position our books in the marketplace.

We knew in the early stages of planning for The Trans Generation that NetGalley would play pivotal role in its success. Last year, we had a separate book dealing with issues affecting the transgender community that was hugely popular with NetGalley readers, so we knew that there was a strong interest in the topic. As soon as we were ready to make ARCs, which for us is about 4-5 months ahead of publication, we posted the materials to NetGalley. We were able to use the widget in our ARC follow up and also email reviewers that we work with who primarily use digital galleys. The book’s publication month was during Pride month, so we also wanted to do a push with readers during that time.

Tell us a little about the various communities you focused on to promote The Trans Generation.

Outside of the academic community, we definitely wanted parents and caregivers of trans or gender fluid children to be made aware of Ann’s work. The book also has important information that can help teachers, social workers, community organizers, LGBTQ activists, even lawyers and medical providers.

With so much interest from a wide variety of readers, how did you use NetGalley to access these different readers?

Our previous success with Beyond Trans by Heath Fogg Davis helped inform who in the NetGalley community might be interested in The Trans Generation, so we targeted those same users. We were thrilled by the response from parents, many of whom I think were drawn to our book because of the title and cover. We also made mention of the author’s deep involvement with the trans community in our marketing copy to highlight that they are more than just an academic researching this area. Ann is deeply committed to the improving the lives of anyone who identifies as trans.

In what ways were these specific communities important to the success of the book?

Many of the reviews left on Goodreads, NetGalley, and Amazon were from parents or general readers interested in learning more about the trans community. It was fascinating to read that they learned so much from Ann’s work and that they would recommend the book to friends, their local libraries, and community outreach groups. We are thrilled that the book carries a 4.3-star rating on both Goodreads and Amazon, which we believe has helped in the book’s success.

What about the trade community on NetGalley? Were Reviewers, Librarians, Booksellers, Educators or book-trade media especially important to you? Why, and how did you go about reaching them?

The trade community is very important to us. Though we are an academic press, the titles we choose for NetGalley are accessibly-written on topics that appeal to a broad readership. We have cultivated an extensive list of auto-approved librarians and media that regularly check on our listings. We also notify users when we have a book they may be interested in because of their previous activity.  When we see that a user posted a review to a blog or website, we make sure to tweet out the link.

How did you optimize your Title Details page to drive requests and reviews for your book?

For this, we made sure to add all the excellent advanced coverage the book received in the “Advance Praise” section. We find that endorsements from library pre-publications and other long lead media appeal more to general readers than praise from academics and scholars. We also added to the title page all the amazing reviews users submitted.

Which NetGalley marketing tools did you take advantage of? How and when did you use them to increase interest?

NetGalley offers some excellent marketing opportunities that I take advantage of whenever they fit with our titles. For The Trans Generation, we nominated it to appear in the “Featured on NetGalley” promotion that coincided with “GLBT Book Month,” which was a perfect and timely tie in.  We definitely saw an uptick of requests once that ran.

How did you engage with members who requested access? How did this fit into your overall timeline for marketing and/or publicity?

We create a personalized approval email for each title that encourages members to leave reviews on sites such as Goodreads, Amazon, B&N.com and their independent bookstores’ website. We rely on their positive feedback on these platforms to boost our titles’ visibility.  For The Trans Generation, we did a promo push to celebrate both pub and Pride month with all members who requested access. This was a follow up email that encouraged members, if they hadn’t already, to please leave a review of the book as a way to celebrate Pride. We did see an increase in engagement after we sent that campaign.

How has NetGalley been incorporated into your post-pub strategy?

For our more popular titles, like The Trans Generation, we often leave them up for a few months after pub. We definitely want to leave enough time for users to leave reviews with Amazon.  National and local review coverage plus radio interviews often provoke members to look up a book and it’s important to us that everyone who is interested in our titles have an opportunity to download them. We also will use the widget in course adoption campaigns that may go out after the pub date.

What are your top tips for academic publishers and nonfiction publishers listing titles on NetGalley?

  • For academic publishers, try to post titles that are accessibly-written and would appeal to a general reader. This definitely helps with relationship building.
  • Take advantage of the NetGalley marketing programs.  They do an excellent job making readers aware of books they might be interested in.  It’s a great way to boost your visibility on the platform and gain some new readers.
  • NetGalley is a process.  The more you take the time to engage with users, the stronger your following becomes.

Betsy Steve is the Publicity Manager at NYU Press.

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Finding and Keeping Mentors in Publishing

In most industries, who you know can sometimes be as important as what you know. Publishing is no different. The right mentor has walked the path you are now trying to walk, and can give you a vision of what publishing looks like as a long-term career. Mentors are important for any career path, publishing included. But sometimes it can be challenging to know where to look for mentors, and how to build a mentoring relationship.

Here are some of the strategies that have worked for members of the NetGalley team, and tips to find and keep mentors in the book world.

Cast a wide net

There is great opportunity in the publishing industry to find mentors through advanced degrees or other programs focused on book publishing, including internships. While these may give you access to potential mentors, they aren’t the only place to find professional connections. Even if you don’t have the institutional support of a publishing school or an internship, you can still make inroads in the industry and create meaningful mentoring relationships.

You might find professional mentors even when you aren’t looking for them. Israel Carberry, NetGalley’s Engineering Manager, found two of his professional mentors through their shared interests in civic engagement: One while volunteering at a food bank, another while volunteering at his local chamber of commerce. As their friendships organically grew through shared interests and values, he began to ask for some professional advice, slowly building a mentoring relationship.

Tell friends and acquaintances that you are looking to break into the industry and ask if they know anyone who would be willing to sit down and chat with you informally to share information about their experience. Friends of friends, parents of friends, neighbors, and other members of your community are great resources. And even if you don’t know anyone in your circle who is in publishing, see if you can build relationships with individuals who work in fields adjacent to publishing. For example, a journalist likely knows publicists who pitch them books for review.

Once you have been connected to a potential mentor, ask them to join you for a cup of coffee so that you can learn more about the industry or to get their advice on job hunting. Make sure to do some research before you meet so that you can ask informed and specific questions.

Follow up after an informational interview to thank the person for their time. This helps the conversation continue, and demonstrates that you absorbed the insights they were able to share with you. Find them on LinkedIn, as well, so that you are added to their professional network.

Be Proactive

No matter where you find professional contacts, it still takes initiative and follow-through to turn these contacts into mentors. NetGalley’s Sales Assistant Katie Versluis recalls how she met her mentor, Allie.

“She was doing a presentation in my class about book marketing…Being an eager student I hung on her every word. She’s only a few years older than I, but she had already accomplished so much and was working as one half of the marketing department of a feminist press in Toronto that I admired greatly. During the question period, I asked her if they took on interns, and she said, ‘It’s possible…’ but [that] they weren’t planning to in the near future. I, of course, took that as a ‘Heck yes we are, please apply,’ so I drafted an application email to her before she’d even left the building.”

Katie’s application was successful. While the internship did not transform into job afterward, her relationship with Allie did help her find a job. The two of them stayed in touch after the internship ended, and Allie tagged Katie in a Facebook post for the Sales Assistant role at NetGalley. “She said, ‘Apply!!’ and I said, ‘NetGalley was my baby! I’m all over this!’ And the rest was history.”

Katie gained access to publishing industry professionals through her degree, but she made the most out of that access by proactively reaching out to gain an internship, and then by staying in touch after the internship ended.

Keep in Touch

Most of us are only actively in touch with our networks of colleagues, friends, and mentors when we are in transition–looking for a new job, asking for references and letters of recommendation, thinking about a career change. We might reach out to our mentors to ask for advice or to see if they know of any interesting job opportunities.

However, it’s crucial to stay in touch with your mentors even when you are not actively asking for advice. Mentorship is about relationships and those relationships can grow and change with time. When NetGalley’s Communications Assistant, Nina Berman, was making the switch from radio to book publishing, a friend connected her with Sarah Younger, a literary agent who helped Nina edit and format her résumé and cover letters. This ultimately helped her land a job at NetGalley. Several months after Nina started at NetGalley, the two met to catch up and Sarah mentioned that many of her authors use NetGalley, but perhaps not to its fullest potential. Nina was happy to return a favor and sent along some resources and best-practice materials about NetGalley for Sarah and her authors. These relationships can often be mutually beneficial in surprising ways. Stay tuned for a guest post from Sarah in the fall.

Some ways to stay in touch: If you had an informational interview with someone during the course of a job hunt, follow up with them once you have found that job. Let them know that their advice was useful and that you are grateful for their support. If you see their name pop up on Publishers Lunch, drop a line! If their imprint is putting out a book that you think looks terrific, send a quick congratulatory note. It keeps the conversation going and can help transform a one-time meeting into a relationship.

Publishing can be a daunting industry to break into, full of ambitious and talented people, but it is a friendly one. People want to help others succeed!

How have you found mentors in publishing? Let us know in the comments! We’d love to feature your advice and experiences in a future Insights post.

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Intern Survival Guide

One of the most common ways to gain experience in publishing–to get a foot in the door, learn what “querying” means, and figure out exactly what an editor does–is to intern. Internships help students and early career professionals determine which aspects of the publishing industry are the best matches for their interests and aptitudes and develop relationships with mentors across the industry.

Olivia Loggia, currently an intern at BookEnds Literary Agency, has been giving tips for interns in an #internsurvivalguide on Instagram.

Today, she’s sharing some advice about how to find an internship, stand out in the application process, and make the most of it both during and after.

Before you started your internship at BookEnds Literary Agency, what was your process like while searching for a position?

Truthfully, I was hungry for any opportunity I could get, and so my search for an internship was extensive. I wasn’t (and still am not) set on just one career path, and so I applied widely, both at literary agencies, and other companies that deal with creativity and entertainment. I knew I wanted exposure to publishing, and potentially a career in publishing in the future, and the only way I thought I’d have a chance at breaking into the industry was an internship. What specifically excited me about BookEnds was its close-knit, yet simultaneously far-reaching team. I knew that in-office I would be working closely with James and Jessica F., which would give me the opportunity to learn from them directly, and develop the skills necessary in a small team. But outside the main office, BookEnds actually has a big team, something that I think sets it apart from other literary agencies. Taking on a diverse range of genres and a wide audience, I knew that BookEnds would give me the opportunity to gain a holistic sense of the agenting world. Since I wasn’t exactly sure what I wanted to do in the future yet, this was especially important to me.

What did you do to stand out in your application or interview? Research. With BookEnds’s application, I spent time looking at their website, reading about their agents, and scrolling through their social media. Even though I hadn’t been in their office yet , research helped give me a sense of the type of work environment it was, and the types of people they were looking for. BookEnds makes it especially easy to do this type of research, since the agency has an active blog, as well as Facebook, Instagram, Twitter, and Youtube accounts. I considered the way the agency seemed to operate, how my own skills and experiences would fit into their operation, and then did my best to convey this in both my cover letter and interview. This included classroom experiences, previous internships, leadership roles, and interests of mine that were relevant to the type of work I would be doing at BookEnds.

What advice do you have for other young people looking for internships in publishing?

If you’re not sure what you want to do in publishing, an agency is a great place to start. Not only is it more intimate than a large publishing house, and therefore easier to form relationships, but it’s also great exposure to a number of sides of publishing. As an agent, you work with writers, illustrators, and editors, and so as the intern, you still get exposure to all of these other careers. One thing I discovered during my internship is that agents are sort of like the businessmen of publishing. If you’re less creatively inclined, and more business-minded, this might be an excellent path for you to consider.

As far as general pieces of advice for interns, I would say to say YES more often! If you’re asked to try something, even if you aren’t sure you’ll like it, say yes anyway. You don’t know what you don’t know. So try new things, and find out from experience if you like it or not. Your internship is going to fly by, so take advantage of the opportunity to actually be a part of a well-respected team of working professionals.

Ask questions. Think of questions that you genuinely want to know the answer to, don’t fall into the trap of asking questions just to ask questions. Ask questions that will get you to the place you want to be in several years; utilize the incredible resources you have available to you (at BookEnds, this was an entire team of fabulous literary agents!).

We saw your #internsurvivalguide on Instagram, which includes some really great tips. How did you come up with it and what do you hope it accomplishes?

Thank you! To come up with the tips, I thought about the strategies that worked well for me, both during this internship and previous internships, in addition to taking into account tips my parents and advisors at Bucknell University had given me. It started out as a way for me to have more of a presence on BookEnds’s social media, in addition to serving as a resource for other young people. BookEnds is committed to making the agenting world more accessible and “user-friendly” for authors, agents, interns, etc., whether or not they’re part of the BookEnds team. Through platforms like their blog, Instagram, Twitter, and Youtube, the agency strives to teach a wide audience about the agenting world. My #internsurvivalguide on Instagram was just one more outlet for this type of teaching.

Tell us the story behind some of the lessons you’ve included in the Intern Survival Guide. Was there a specific experience that prompted a particular tip?

One tip that was especially prompted by my experiences at BookEnds was “ask for feedback.” Early on during my time at BookEnds, I was surprised by how regularly James, who I reported to, checked in with me to ask how he was doing as my mentor. I was the intern, I didn’t expect to be giving my boss feedback! But that’s just how BookEnds operates. During our weekly meetings, agents would share things that went well that week, and things that didn’t go as well, always asking for advice for how to move forward with the latter. I even received an evaluation, which identified both strengths and areas for growth. This was such a valuable reflection, and one that I know will benefit me moving forward in my professional life—it’s certainly easier to just assume (or hope!) you’re doing well, but taking the initiative and demonstrating self awareness is ultimately the most beneficial. At BookEnds, whether you’re the founder, or the summer intern, the mentality is that you can improve. And that’s a team mentality that I think is rare.

What specific goals do you hope to achieve through this internship?

One goal I had with this internship was to become a better reader, part of which included expanding the types of things I read. As someone who generally gravitates towards YA and contemporary fiction, interning at BookEnds challenged me to read many new genres: Cozy mysteries, adult suspense, and picture books. Although I wasn’t as familiar with them, I found that with an open mind, and by learning from example (I often looked at how agents critiqued former projects in the same genres), that I would be met with success. Another goal that I had was simply to develop confidence in a professional workplace! It’s one thing to be in class, critiquing your peers’ work, and quite another to be reviewing actual authors’ work. Early on, I spent a lot of time listening to the way the BookEnds agents interacted with one another and their clients, and then did my best to match their enthusiasm and insight in my own commentary. I pushed myself to participate in the meetings each week, and was very thorough in all of my writing assignments. I knew how lucky I was to be interning at a place where the intern’s voice was so highly regarded, so I made a commitment to myself to fully give my very best work each time—I was not going to miss an opportunity like this one.

What has been the most valuable part of this internship (or of interning overall?)

Having the opportunity to be fully integrated into a team of successful, working, professionals was easily the most valuable part of this internship experience. Not only was I regularly asked for my opinion, but I was able to sit in and participate in meetings, and have one-on-one conversations with agents and clients, and play an active role during brainstorm sessions. Yes, I was the intern. But at BookEnds, the intern is treated like an important resource, and respected team member. The communication, reading, time management, collaborative, and initiative skills I developed through this internship are skills I know will benefit me for the rest of my life.

How do you plan on making the most of this internship even after it ends?

My biggest takeaways from this internship have been: listening is equally important to speaking when working with others, how to give and receive feedback, and the importance of having faith in your convictions. I know these lessons will translate into any workplace, as well as in my classes, or even on my dance team. Beyond these lessons, I also plan to stay in touch with everyone at BookEnds! Throughout my time there, they stressed the importance of reaching out to them, and maintaining my relationship with the agency. I think this is important with any internship/job, and something I plan to continue doing with future work experiences.

Do you have any plans on the horizon you can share with us?

For now, heading back to Bucknell. As a rising junior, I’ve become increasingly aware of how close I am to graduation (make it stop!), and so I’m really excited to just go back to school, keep taking classes I’m interested in, being extracurricularly involved, and spending time with my friends. This spring semester I’ll be studying in Granada, Spain, so that’s something else to look forward to!

As for the more distant future, who knows! BookEnds has been great exposure to the publishing world. I love how the work is different each day, the creative component to agenting, the flexibility the job allows for, and the opportunity to work with many different people. Moving forward, I’m still very interested in publishing, but am also curious about careers in advertising, marketing, and media companies. I am hopeful that no matter where I end up, I have the chance to work with a team as passionate, dedicated, and driven as the one at BookEnds!

*Interviews have been edited for clarity and length.

Bio: Olivia Loggia is a rising junior at Bucknell University. She’s majoring in creative writing and Spanish, along with a dance minor. This summer, she had the privilege to intern at BookEnds Literary Agency, providing feedback on submissions through reader reports, writing revision letters, offering critiques on book proposals, assisting with the social media, and more.

BookEnds Literary Agency

BookEnds is a literary agency representing bestselling, award-winning, and internationally published authors. Representing fiction and nonfiction for adults and children alike, BookEnds agents continue to live their dreams while helping authors achieve theirs since 1999.

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Case Study: Glimmerglass Girl

How an indie author’s debut chapbook became one of the most requested poetry titles on NetGalley

On NetGalley Insights, we highlight the successes of NetGalley publishers and authors, and share some of their strategies. Today, we’re talking with Holly Lyn Walrath. She is a poet and author whose work has appeared in Strange Horizons, Fireside Fiction, Luna Station Quarterly, Liminality, and elsewhere. Glimmerglass Girl, published by Finishing Line Press, is her first chapbook, and is one of the most requested poetry titles on NetGalley.

Glimmerglass Girl is your debut book of poetry (on sale Aug. 3, 2018). Tell us a bit about your overall strategy for promoting your debut book. Some authors find it challenging to build a community of advocates and influencers before they are a well-established name.

When I set out to promote Glimmerglass Girl, my main goal was to get pre-orders, so my promotion period started sometime in April. I think that was very helpful because starting out that early meant I had plenty of time for outreach. Beyond reaching out to my existing network of friends and fellow writers, I spent a lot of time contacting poetry reviewers and booksellers. Since my book is short and illustrated, I focused on booksellers that were local to the Houston area or interested in indie and rare books or zines. Because my book is being published by a small press, they don’t have the resources bigger publishers have. It is quite a challenge when you’re just starting out. There were a few times when I felt overwhelmed by self-promotion! But, I was surprised by how kind and supportive the poetry community is.

How has your experience launching your own book differed from being published alongside other authors in collections?

When you’re publishing a poem or short story in a collection or anthology, you have the support of every author who’s been published alongside you. They all share the book with their network and that has an amplifying effect. But when you’re publishing your own book, it’s just you! (Or in my case, me and Finishing Line Press, my publisher.) You have to rely on yourself a lot more.

Our audience of publishers and authors is always eager to learn more about how others are planning their publicity and marketing efforts on NetGalley. Where does NetGalley fit into the overall strategy and timeline for Glimmerglass Girl?

At first I wasn’t sure what NetGalley would do for my book, but I decided to try it out anyway. I work as a freelance editor, so I’ve seen clients use NetGalley to varying degrees of success. For me, listing my book on NetGalley was an extra push to get the word out about my book and a bit of an experiment. But I think that experiment has really paid off. It’s also been so much easier to get ARCs into the hands of folks who want to read the book—I just send them a link to NetGalley.

Which segments of the NetGalley community were most important to you (ie. Reviewers, Librarians, Booksellers), and why? How did you go about reaching them?

The biggest reward has been in receiving reviews on Goodreads, Blogs, and Twitter. Because I started early, I have a good amount of ratings on Goodreads and my book isn’t even out yet! It’s also very useful to have a list of reviewers that I can contact when the book comes out and ask them to review on Amazon and other retailers.

How did you optimize your Title Details page to drive requests and reviews for your book?

I included a short description with a few blurbs and an excerpt from an early review of Glimmerglass Girl by VIDA: Women in Literary Arts. I was careful to link to my Instagram, Goodreads, and Twitter accounts with the #GlimmerglassGirl hashtag so readers could easily tag me online, allowing me to reshare their posts about the book. I also included a press kit from my publisher with additional information about the book.

We loved how you linked to Glimmerglass Girl’s Title Details page on Twitter, bringing attention to your title using NetGalley, for an audience that might not already be on NetGalley. Why was this audience important to you?

It’s pretty much ingrained in me that when I have news, I share it on Twitter (I’m addicted!). I noticed that any reviewers use the #NetGalley hashtag on Twitter when they review an ARC. So it made sense to me that that audience would also be scrolling through the hashtag to look for new books to check out. There’s also a fantastic audience of writers, readers, and fans of books on Twitter via the #amwriting, #amediting, and #amreading hashtags, who don’t know about NetGalley but would love to be a part of the community here.

*for more information about incorporating hashtags into your marketing strategy, check out this 3-minute video.

Tell us more about strategies you used to leverage your NetGalley listing outside the site.

One strategy that’s been super fun is reaching out to Instagram’s book community. There are readers who post beautiful, artful, enchanting posts with their current TBR pile or reading obsessions. I asked a few of them to check out my book on NetGalley and got a lot of responses back from people excited to be offered a free ARC. I think that’s a pretty unique way to reach readers. I’ve also added the NetGalley link to my website and Press Kit.

Which NetGalley marketing tools did you take advantage of, and how did you use them to leverage interest?

I’ll be ramping up my NetGalley marketing in August when the book comes out. Glimmerglass Girl was chosen as a featured title as part of the “debut authors” month so it will appear on the front page of NetGalley. I’m stoked for this opportunity and curious to see how it goes. I think this last burst of interest should help get the book in front of more readers.

How did you engage with members who requested access? Did you follow up with them via email?

I made sure to follow members who requested access to Glimmerglass Girl on Goodreads and Twitter and share any blog posts to my website. I plan on reaching out to all my members who requested access with an update when the book is live to let them know they can order it, review it on Amazon and other retailers, and thank them for reading. I’m grateful for this chance to get to know other lovers of poetry, but I didn’t want to bombard them with emails either.

How will NetGalley be incorporated into your post-pub strategy?

My book will be on NetGalley for about two months post-publication and my hope is that this will help garner some Amazon reviews . . . for the coveted algorithm! I’m also planning a Goodreads Giveaway during August and I’ll probably pair this with NetGalley to let anyone who enters know that they can also get a free copy while they wait (and vice-versa with members who’ve already requested my book and might want to enter the giveaway.)

What is your top tip for authors listing an individual title on NetGalley?

Make sure to check out the other titles in your category. Read their description and model your title page off the books that you love and that are successful. I think readers really rely on the description to know whether they’ll like a book, so having some comp titles (books similar to yours) is helpful. In the case of Glimmerglass Girl, I’d love to reach the audiences of authors like Rupi Kaur and Lang Leav—women readers who are sure of themselves and maybe a bit creative too. Don’t be afraid to name-drop similar authors!

Glimmerglass Girl comes out on August 3 from Finishing Line Press. You can pre-order it here.

*Interviews have been edited for clarity and length.

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How To Pitch: Sarah Miniaci, Senior Account Executive at Smith Publicity

Finding placement in relevant media channels is integral to a book’s success. After all, nobody will read or buy a book if they’ve never heard of it! Securing those crucial placements requires pitching. In our How to Pitch series, we hear from some of the publicists who use NetGalley to learn more about their strategies and successes.

We’re thrilled to kick off this series with Sarah Miniaci, Senior Account Executive at Smith Publicity.

We know that pitching books to important media is just one part of what you do. How do crafting the right message, finding the right person to contact, and other pitching-related projects this fit into your workflow?

You’re absolutely right that pitching books to important media is just one of the many initiatives a book publicist undertakes – but, it’s an incredibly important one, and it is the effort we spend the most time on by far in any given week. The many factors we take into account in crafting a pitch – and then identifying the right contact to send it to – include but aren’t limited to: the book’s plot, themes, timely topics, geographic tie-in’s, and key messages, the author’s background, talking points in relation to the book, local market hooks, and past media credentials and/or existing media relationships, what’s going on in the news, what’s trending in the entertainment publishing industry (and/or genre landscape) at large, and what changes are afoot in the media (from contact role updates to new outlets opening to other outlets shuttering their doors or changing focus, establishing new sections, etc.). So, it’s a lot of work – a full-time job, truly! – but work that is very much worth it when it results in the right coverage placement for the right book at the right time.

How do you determine the right people to pitch? Do you have certain contacts that you send every book to, or is the decision really based on each particular book?

As full-time book publicists we have a great benefit when it comes to developing our pitch lists, which is that we spend all day every day immersed in the literary media landscape – and so we are able to develop a strong gauge on which books are suitable for (and appealing to) which contacts. That said, there is no single contact to whom I would send each and every book. A self-published romance novel is not going to be relevant to the same media contacts to whom we pitch high-profile business non-fiction. For that matter, there can be great discrepancies even within the same genre landscape – two separate thrillers novels, both with October 2018 publication dates, can and will usually have very different publicity plans. To establish our pitch targets, we’re really looking in-depth at the book and author, and from there determining how and who we’re going to present them to as a good candidate for coverage. Does the book have a complex female protagonist or is the narrator a young African-American man? Is it set in modern-day New York City or rural Missouri at the turn of the century? Is the author’s voice gritty and hyper-realistic or breezy and family-friendly? Every pitch list we create for every book we work on is painstakingly crafted and highly personalized, taking all of these factors and more into account.

What strategies do you use to make your pitch emails stand out?

Every publicist has their own quirks and executes their pitching a little differently, but the majority of pitching these days is conducted over email – at least as a first point of contact, and for print and online media almost exclusively. Some contacts for broadcast outlets, like radio and television, still like a good phone pitch. As professional publicists, it’s our job to know who likes to be pitched in what ways and act accordingly. Some contacts also like being pitched over social media – but, I will warn, most do not, and certainly not over Facebook (it’s a very personal platform and faux pas to get in touch this way unless otherwise explicitly stated!).

In terms of standing out with your pitch, it’s my sincere belief that if you’ve taken the time to identify the right contact to pitch, you won’t find it hard to stand out and get a response. You need to be confident that this kind of book from this kind of author is precisely the kind of thing that this contact has a demonstrated interest and solid background of editorial coverage in. It’s really important to be cognizant of the fact that the media and reviewers you are pitching don’t actually want to say “no” to the pitches they’re receiving. They love nothing better than a good pitch they can actually do something with. The more thoughtful, targeted, and helpful you can be to the media, the much better your chances of success become. Remember: media contacts and reviewers have jobs to do, too – be of value and you’ll find a lot of open doors and great relationships await!

What resources do you use to sharpen your skills for crafting just the right message in your pitch?

It may sound obvious, but the very best way to sharpen one’s pitching skills is, in my view, by reading and consuming media! To keep up with the magazine landscape, I personally love the Texture app. Twitter is a great way to stay engaged with outlets and media contacts and get a feel for what they’re covering. With newspapers, Twitter can also be helpful (you can follow not only publications but in many cases specific sections, too, such as @nytimesbooks, @globebooks, @latimesbooks, and the list goes on). I also like subscribing to the weekend editions of a couple of print newspapers. Not only is it a nice way to spend a Sunday morning with a little breakfast and pot of coffee, it’s also valuable in gaining a genuine understanding of the media coverage landscape for books. I’m a public radio junkie (as a Canadian, I can’t get enough of the CBC, but I love and often live-stream NPR and the BBC at my desk, too!) and love following #Bookstagram influencers and other media contacts I interact with a lot on Instagram. It really all goes back to the idea of getting to know the people and outlets you’re pitching. Once you get that, everything else really does fall into place.

What do you do if you don’t get a response? 

In this day and age, we all have over-stuffed inboxes and it is completely understandable that not every email you send out is going to receive – or even warrant – an immediate response. That said, if I’m reaching out to a contact with a book that I genuinely believe is going to be a perfect fit for them, I don’t hesitate to follow up about a week after my initial pitch send – it’s always possible that they were on vacation, on deadline, or just otherwise distracted when the first one came through, but interested and grateful for the follow-up! Otherwise, if you’ve done your research and are confident that this contact should, in fact, be receiving your pitch (I keep stressing this because it really is the most important part), keep following up with new angles, story ideas, subject lines. Media contacts often get back to us weeks, months, and sometimes even years after the initial pitch was sent!

Give us your top tip for publicists!

Do your homework, read/listen to/watch media voraciously, and always remember: the person you’re pitching doesn’t want to have to say no, so make it easy for them to say yes!

NetGalley Insights tip: Authors, whether or not they are working with publicists, should also be thinking about these strategies. Authors can help their publicist, or use these strategies to pitch their own titles. Authors should be thinking about how to tie their books to media outlets, influencers, regional opportunities, and more. Authors should be consuming relevant media to learn more about how titles are being positioned, and who is talking about what.  

 

Sarah Miniaci is a Senior Account Executive and Business Development Associate at Smith Publicity – one of the leading book publicity agencies in the world, with offices in Toronto and New Jersey. Founded in 1997, Smith Publicity has worked with more than 3,000 authors and publishers, from New York Times bestsellers to first time, self-published authors.

To connect with Sarah or another publicist at Smith Publicity, contact them at www.SmithPublicity.com or find them on social media @SmithPublicity on Twitter, Facebook, Instagram, and LinkedIn.

*Interviews have been edited for clarity and length.

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