July was a record-breaking month here at NetGalley! With the launch of the NetGalley Shelf app and audiobooks, members have been engaging with content more than ever across the site. This July NetGalley.com saw a 47% increase in the number of sessions over last July, while NetGalley.co.uk saw an increase of over 62%. These sessions resulted in 8.4 million pageviews across both platforms!
NetGalley members are thrilled to be browsing audiobooks from audiobook publishers, and their excitement has spilled over into their reviews. Approved members have submitted over 14,000 Feedback and Reviews for audiobooks in July and August.
And it’s not just audio that’s benefitted! In the first two weeks after launch, we saw over 30,000 downloads of digital review copies in the NetGalley Shelf app. Now, two months in, we’re up to nearly 70,000 DRC downloads! Feedback and Reviews submitted for digital review copies has increased since the launch as well. Activity across the entire NetGalley platform continues to trend upward!
Today we are thrilled to celebrate the launch of two major enhancements to the NetGalley service in both the U.S. and U.K.: the NetGalley Shelf app and Audiobooks!
The NetGalley Shelf App
The NetGalley Shelf app is our first mobile app, available for free on both iOS and Android devices. This app makes it easier than ever for NetGalley members to start reading or listening to books they’ve been approved to access.
There are several reasons that we are introducing the NetGalley Shelf app right now: it provides members with a more simple and streamlined reading experience, as well as adds further support for various types of content (including highly illustrated books and audiobooks).
How It Works
After a member downloads the free NetGalley Shelf app from the Apple or Google Play Store, they sign in using the same login name and password as their account on the NetGalley website. Once they log in, the member is presented with their NetGalley Shelf (the books that publishers have approved them to access). As long as you have enabled the NetGalley Shelf app as a Reading Option in your publisher account, your books will automatically appear in approved members’ NetGalley Shelf app.
The NetGalley Shelf app presents members with a seamless reading experience. When publishers enable the NetGalley Shelf app, approved members will be able to access the digital review copy as a protected file, on up to 5 devices associated with their particular account. NetGalley tracks when the file was downloaded and to how many devices. If more than 5 devices associated with a particular member account attempt to access the file, the license is revoked entirely and it can no longer be accessed on any devices for that member account. Files cannot be printed or copied, and you can choose if the file will expire. To learn more about the DRM protection for files available via the NetGalley Shelf app, click here.
The NetGalley Shelf app is for NetGalley members to read and listen to approved books. Members will continue to discover, request,and provide Feedback for books on the NetGalley website.
Audiobooks on NetGalley
NetGalley members have been excitedly anticipating the launch of full audiobooks. The sustained growth of the audiobook market over the past several years has led audiobook publishers to seek new ways to promote their books and increase discoverability of the format. NetGalley’s existing platform allows publishers to efficiently distribute review copies, and audiobook publishers can now benefit from the robust tools, reporting, and engaged community.
“NetGalley has been helping publishers to build buzz, receive feedback and reviews, and discover early trends for their digital review copies for over 10 years.,” says Kristina Radke, VP, Business Growth and Engagement. “We’re thrilled to broaden the service to support audiobook publishers. We believe early feedback about new books (no matter the format) is good for all books, and we’re honored to be the place where over 550k reviewers, booksellers, librarians, educators and media discover and review.”
Considering the unique timeline for audiobook production and shorter lead-time for pre-pub promotion, we are excited to offer tools and reports that can immediately expand the work audio publishers are already doing to promote their titles (both frontlist and backlist). It’s our privilege to begin this partnership with audio publishers and continue to evolve to meet their growing needs.
The NetGalley Shelf app is the exclusive way for members to listen to audiobooks made available on NetGalley. Audiobook files are downloaded within the NetGalley Shelf app before playback begins so members will be able to continue listening even if their device goes offline.
We proudly welcome the audiobook community to NetGalley!
NetGalley’s team is based across six countries and three continents, without a centralized office. As more and more publishers implement a work-from-home policy, we want to share our experiences as a virtual team. Over the years, we’ve had our fair share of trials with technology, the odd dropped conference call, and dodgy Wi-Fi connections, but we all love working from home and hope we can offer you some insights into how to work from home effectively.
Today we’ve gathered recommendations, hints and tips from the NetGalley team – but the important thing is to find a rhythm and routine that works for you. After all, working from home should never be more stressful than working from the office.
Make your own dedicated workspace
When we surveyed NetGalley staff, setting up your own dedicated workspace was by far the most common piece of advice. Amanda, for example, says “It helps me get in the mindset that I’m at work. For me, I have to make sure I have a door, too, that I can shut when I really need to focus on what I’m doing without any outside distractions.”
The same sentiment is shared by Alyce: “I set aside a small space in my home that I use only for work (a little desk by a window). When I sit down at my little work station in the morning, it helps me mentally focus on the work part of my day, and when my work time is done, it’s nice to be able to physically step away from my ‘work place’ and focus on other parts of my life.”
We know this isn’t always easy – as Katie points out, “Not all of us are blessed with a home office, but this doesn’t mean you should be working from your bed” – but we think you will certainly feel the benefit.
Give yourself time to adjust
For those who do not often work from home, the move can be quite disconcerting. Tarah acknowledges, “Working from home isn’t going to feel completely natural overnight – you’ve now merged your personal life with your work life, so you need to learn how to create (and maintain) boundaries.”
In those first few days, make a to-do list and look at what you’ve achieved at the end of each day. Try to think what worked and what didn’t and try to address these the following day.
Maintain a positive routine
As Brianna suggests, “Keep a routine and stick with your regular work hours.” Something echoed by Amanda:
“It’s so easy to overwork when you don’t have to worry about train schedules or beating traffic in and out of the office, and there have been many nights my husband has carried dinner up to my desk without me even realizing how late it got while I was nose-down in work.”
Dana, along with other NetGalley staff members, also notes the importance of having time before starting work. “I always aim to wake up, get ready for the day, and get that first cup of coffee in before the work day begins,” she writes. “It’s easy to fall into the routine of wake-up-and-start-work because there is no commute. Waking up and logging on immediately makes early meetings very difficult and it takes longer for me to be fully productive.
Communication is Key – (also, Don’t Fear the Phone!)
Regardless of which apps you use, make sure that everyone is using the same ones – you will be relying on them more than you’re used to. With this comes a tendency to rely solely on text-based communications. But don’t come to fear the phone, says Lindsey:
“We’re fortunate that virtual communication is easier than ever but the power of a real human voice cannot be overstated. Occasionally, email chains have the tendency to drag out longer than necessary when an issue or question could’ve been resolved quickly with a short phone call. Consider picking up the phone if it appears your words/tone/intent have been misinterpreted or can be easily clarified. Plus, talking through ideas verbally can really help to flesh them out in a way that is different than typing.”
In addition to business communications, Karina suggests that we don’t forget our working friendships. “Try to not only have business emails and work-related online conversations with your colleagues. It’s easy to just stick to those when you’re trying to work efficiently and you don’t run into each other in the office kitchen when grabbing a coffee. But it’s really important not to neglect those types of office-kitchen conversations when working remotely. It can get your mind off a current problem, lift your mood and maybe even bring you the solution to a problem from where you least expected it.”
Fran adds, “While schools are closing and major entertainment and social gatherings are being shut down, we still are human and need social interaction.”
It’s called Working from Home for a Reason…
Just because you’re at home, doesn’t mean that you are there to do all the chores. As Tarah says, “Sure, working from home has a lot of perks, including making lunch in your own kitchen, but when you’re just starting out I recommend putting on your blinders so that your work routine looks very different from your usual at-home routine.”
Israel agrees, “If there are other people in the house, they have to behave as if you were gone to the office. No interruptions, no ’quick questions’, etc. Send an email. If you’re not strict with this rule it quickly fails, so no exceptions.”
…But there’s more than one of us working at home!
If you are living with a partner, housemate or parent who is also working from home (or usually stays at home), there are all kinds of possible flashpoints. As everyone works differently at home, it is a good idea to talk about the kinds of routines you are likely to have. Designate areas, and agree on times that you can talk, perhaps having a run-down of times that you absolutely cannot be disturbed. Sharing your calendars is a good idea.
As Stuart suggests, “Do not comment on other people’s methods of working from home, and don’t be disappointed or upset if you suggest lunch together and the other person says no. You are both at work, and must try to maintain the idea that you are not working at the same office.”
Take Proper, Meaningful Breaks
This is one of the most important things to remember about working from home. It’s usual to feel that you need to be at work at all times, but just as you’re not ‘working’ every minute of the time you’re in the office, neither should you feel that you need to at home.
As Maria says, “I find it helpful to go outside (taking a walk, quick grocery shopping, walking the dog, etc.)”
And Alicia focuses on ways to stay healthy: “It’s very easy to slip into a routine that is less than healthy, but there are plenty of easy things you can do… some days I work on either an exercise ball (which is great for the back) or a standing desk. Many days I even add 5 minutes of chair yoga to my workday. Some days it is essential to take just a few minutes to recharge. Work hard, but don’t forget you can not pour from an empty cup!”
At the office, all the equipment is set up for business – ergonomically designed chairs, desks at a recommended height, big monitors – but at home, it’s a bit make-do-and-mend. Be sure you take care of yourself during the working day.
Tarah says, “Use the best chair in the house while working and make sure your laptop screen is at eye level (utilize the books you aren’t currently reading) and use a wireless keyboard and mouse. This will help your line of sight, and decrease the stress in your back. If you happen to have another monitor around, plug it into your laptop to increase your screen space – you’ll feel so much more organized.”
Organization is absolutely critical when working from home. “Get even more organized than you need to when you’re in the office,” Kristina writes. “There will be fewer people checking in on your progress, so take responsibility for prioritizing your efforts and reporting to your team – no matter your job title! Everyone will appreciate a quick head’s up about the status of your projects, especially when multiple people are working on the same project. Come to an agreement with your team about what this looks like. For my team, it’s a quick end-of-day message on Slack.”
Try to enjoy yourself
At the moment it’s an unsettling time and for your own mental health, it’s best to be as positive as you can. Try to stay away from news websites for a good proportion of the day, and don’t let your social media usage increase compared to your usual day in the office. Trust us, this can be important!
Kristina also suggests looking for new opportunities. “Once you log off for the day, consider new ways to be social with friends and loved ones! I have friends who host a Facetime D&D game monthly, for instance. Or consider honing new skills–look around and you may find that there are many music and dance instructors who are offering virtual lessons if you want to get up and move. These types of gig-economists are struggling right now.”
We hope this has been a useful insight into the way we work! Please feel free to contact us at firstname.lastname@example.org if there are any issues raised in this article which you would like to discuss with us. If there is anything we can do to help, just let us know.
Thanks to the NetGalley team quoted throughout!
Amanda Delatorre – QA Manager
Alyce Reese – Marketing Specialist
Katie Versluis – Client Relationship Associate
Tarah Theoret – Director, Community Engagement
Brianna Paulino – Email Marketing Specialist
Dana Cuadrado – Social Media & Administrative Assistant
Lindsey Lochner – VP, Marketing Engagement
Karina Elm – Managing Director (Germany)
Fran Toolan – CEO
Israel Carberry – Engineering Manager
Stuart Evers – Assistant Director (UK)
Maria Bodmer – Managing Director (France)
Alicia Schaefer – Customer Service & Community Assistant
Kristina Radke – VP, Business Growth & Engagement
Why a self-published, New York Times bestselling author didn’t tell her audience her latest book was on NetGalley
Author of the New York Times bestselling Hearts series, Claire Contreras, had never considered using NetGalley until she was getting ready to share the first book of her new series, Half Truths. When most authors use NetGalley, they use it to broaden their reach to new audiences and engage more deeply with the readers who are already following their work. Claire Contreras did something completely different. She didn’t make any announcements to her social following or newsletter subscribers about her latest book being on NetGalley – instead, she’s using it exclusively to find new readers.
In this case study, Contreras shares her unique NetGalley strategy, plus her perspectives on self-publishing versus traditional publishing and how she uses social media to connect with her audience.
I’d seen my friends who are published traditionally on NetGalley in the past and figured the publishing houses must have a good reason for using NetGalley, I just didn’t think it was something available to me. I spoke to a friend of mine who’s hybrid (traditionally and self-published) and she told me a lot of librarians read her books via NetGalley and that sold me on it. Before that conversation, I didn’t know how to reach librarians. Once I got on [NetGalley], I realized it wasn’t only librarians, but also media and educators as well as bloggers I wouldn’t normally have reached. That was when I realized NetGalley was a brilliant concept.
How did you get the word out to your audience about your NetGalley listing?
I didn’t. I used NetGalley solely for people I couldn’t reach myself. I feel it really puts the book in front of people who otherwise wouldn’t have seen it. I wanted to get more attention from librarians, media specialists, editors, and [other] people who don’t normally read me.
One of the reasons I didn’t announce to my readers that my book was on NetGalley was that I wanted to see how many new readers I would gain from the site. I was pleasantly surprised that a lot of the members had never read me before, as that was one of my initial reasons for turning to NetGalley. I have incredible readers, but there’s always room for more. I think in this particular case, the cover drew a lot of attention.
[I was most surprised by] the amount of people that requested the book. I was in complete shock to see Half Truths on the front page of most requested for weeks!
Half Truths is going to be part of a series. How are you using NetGalley to build anticipation?
With Half Truths specifically, I knew from the start that I would turn it into a series of standalones (standalone books in the same “world” – academia, different secret societies).
Because I’m using it as a promotion tool for the series, I’m approving a specific group of people. When I get closer to releasing information about book two, I’ll give away a lot more copies to readers (non-librarians/media) for reviews. I like to test things out and give it time to settle so I can see what’s working and what’s not.
I [also] have a mailing list – a snail mail list – that I put together when I was promoting the first book and I fully intend to use it again to send clues out in the mail to my readers as to what they can expect.
I believe pre-marketing and post-marketing are both powerful. However, I hope to have my next book in this series up on NetGalley a lot sooner than the first.
You are both a self-published and a NYT-bestselling author. Tell us a bit about why self-publishing is right for you.
When I first decided to publish, I fully intended to go the traditional route. My college professors and mentors were completely against me self-publishing, and I understood why. It was frowned upon and not something we completely understood. I decided to take a chance and self-publish my first book on a whim, just to see what happened. I figured if no one read the book, I could always take it down and query agents. The book did better than I anticipated and I gained a pretty steady readership, so I stuck to it. It was unexpected, but so far the control and freedom [I’ve gotten from] being self-published has been great. That’s not to say I wouldn’t go the traditional route. I would definitely love to work with traditional editors and be with a traditional publisher when the time is right.
I use social media as a get-to-know-me tool. I find that a lot of people follow me there because they want to know what I’m doing or what my thoughts are on certain things (as random as they may be). I’ve also built a following from my cancer journey, which I shared from the time I was diagnosed in 2014 to today. I keep them up to date with my health and some of my personal life because I think it’s important for people to know that they’re not alone. Sometimes it’s hard to conceive that others are going through struggles when you see them smiling all the time in pictures, so I keep it real with them.
What (or who) are the resources you go to to keep up with industry trends and to make your books as polished and professional as possible without the infrastructure of a traditional publishing house?
I don’t follow trends. I write things that I can’t stop thinking about and try to package them in a way that’s appealing to the masses, but as far as trends go, they are constantly changing and I can’t keep up with most of them so I try not to pay attention to them. I pay attention to the things I can control, which means making sure I have good editors, proofreaders, and cover designers.
When can members expect to see the next book in the series on NetGalley?
I don’t want to say much because I don’t want to spoil it, but I will say . . . You’ve been summoned 😉
Claire Contreras is a New York Times bestselling author who
traded her psychology degree to write fiction. Don’t worry, she still
uses her knowledge on every single one of her characters. She’s a breast
cancer survivor (x2), who was born in the Dominican Republic, raised in
Florida, and currently resides in Charlotte, NC with her husband, two
adorable boys, and French bulldog.
*Interviews have been edited for clarity and length.
NetGalley members are always curious about how they can get publishers to approve more of their requests. That’s why We Are Bookish’s Kelly Gallucci interviewed Estelle Hallick, Publicity and Marketing Manager at Forever, about her process for managing requests, and her advice to members looking to improve their profiles. In addition to giving members an inside look at how a publicist is looking at their profiles and their NetGalley activity, Hallick also provides other publicists and marketers with a template for managing requests systemically.
In this interview, Hallick shares the metrics she considers when approving Reviewer requests, how she treats new NetGalley members, and why a critical review doesn’t mean that she won’t approve another request from that same member.
Read the interview below! Plus, if you have a book or an author that you think would be a great fit for We Are Bookish, pitch them here.
Take us behind the curtain: What does the NetGalley request approval process look like for Forever?
I always start by looking at the Feedback Ratio; I sort the reviewer requests and start the approval process with the highest numbers. Since we get so many requests every day, 80% Feedback Ratio is a benchmark number for me.
When I start to get below 80%, I begin reading through bios. I tend to give more attention to the people under 80% because I’m genuinely interested to know why they are requesting the title or what brings them to NetGalley. I hope to see that bios are updated recently, or within a year (to me, it’s an indication that they are active reviewers) and to see if they have a list of authors they enjoy. This helps me decide if they are a good fit for our titles. While Feedback Ratio is important to me, I remember what it’s like to be a new reviewer and try to consider newer members whenever I can–but it starts with a detailed Profile.
What are three common missteps that can lead to a declined request?
I look for Feedback Ratio, correct member type, and updated bio with working links. I see so many Profiles with inspirational quotes or information that feels a little like a dating profile. I love personal details, but, in order to catch my eye, the combination of personal and professional information is important.
Do you look for different information in NetGalley Profiles based on member type?
Every member type should be as detailed as possible.
Bookseller: Where do you work? Are there book clubs at your store?
Librarian: What department do you work in? Are there any programs you run that would be of interest to publishers?
Traditional reviewer: What outlets have you written for?
Blogger: What street teams are you on? Do you organize any annual events on your platform? Do you cross-post? What are your stats?
Traditional reviewers and bloggers should absolutely include links to recent reviews or author interviews that they’ve done.
How often should members be updating their Profiles?
My hope is that reviewers are seeing continual growth on their platforms and want to communicate those updated stats with us. A good rule of thumb is to update whenever there’s something new to add–think of it a bit like a resume in that you want to provide your best and most up-to-date information. Put your best and most accurate foot forward.
We know publishers rely on member stats included in NetGalley Profiles when making approval decisions. Are there any specific stats you personally look for? (Psst, members: To find a publisher’s approval preferences, visit theirPublisher page!)
For bloggers, I do look at social media platform growth. While I look at follower count, someone with a following of less than 500 (just as an example) won’t deter me from approving them. To me, it’s about engagement on the platform and how well posts perform.
Let’s talk about review etiquette. In your opinion, what are three important things members should think about when writing reviews? What do you recommend members do when faced with reviewing a book they didn’t enjoy?
First, I want our reviewers to be honest. Giving a book a critical review won’t mean you aren’t qualified to receive other books for review; if anything it makes it easier for us to understand what kind of books you do enjoy. (Reading is an extremely personal experience.)
Second, the most helpful reviews give a sense of the story but do not give away the entire plot. As a bonus, I love when you share if you personally identified with something in the story.
Third, timing. As a NetGalley member, you’re often able to read books well before they’re in stores or libraries. If you love something, don’t wait to share it! Early buzz is so important to authors and publishers. It also alerts other reviewers about the book. The one thing we ask you to keep in mind is remembering to share again on release day.
As an added note, please do not tag authors in critical reviews. Reviews are for other readers, and authors do not need to be alerted of them by a tag.
What can newer members, who may not have a high Feedback Ratio or strong blog/social stats yet, do to stand out to publishers?
New members should take advantage of “Read Now” books to grow their Feedback Ratio, and also give us a better idea of the books you like. Listing authors you enjoy (so we can think about comparable authors we have) and not overdoing the category/genre options would be a great help. I’d also love to see new reviewers share where they read reviews and their hopes for their review life–all great places to start.
Is there anything we didn’t cover here that you’d like to add?
As a NetGalley member, please be sure to read over the decline email you receive before contacting the publisher. A good letter will tell you why you didn’t meet the qualifications for this particular book. If you are still unsure, definitely reach out for specifics.
At NetGalley, we think a lot about how to work more efficiently — how we can help publicity, marketing, and production teams minimize manual effort and maximize output, and how we can do the same for ourselves. Like our publishing partners, we are working on multiple projects, involving different teams coordinating with one another. We just launched We Are Bookish, are building backend support for full audiobooks, and working on some big changes to making accessing books on NetGalley even easier.
As a fully remote team, we can’t just peek our heads into someone’s office to ask a quick question. Instead, we rely heavily on cloud-based shared tools to help us stay on the same page, on track with our roadmap, and in line with what our publishers need.
Here are some of the tools and programs that let us stay connected and on track with our goals. We hope that by sharing these tools, you might see something that can help you and your team work together even more efficiently in the new year.
The NetGalley team uses Smartsheet’s customizable spreadsheets and forms in a number of different ways. We use its spreadsheets to create our editorial, communications, and promotional calendars, to keep track of our own internal metrics, and to plan for conferences and events. We generate forms through Smartsheet to let publishers schedule marketing opportunities, as well as to log our own hours and expenses, and submit new ideas for feature developments. Because it is cloud-based, we never have to worry that we didn’t get emailed the most recent copy of a spreadsheet. We always know that we’re all using the most up-to-date information.
As a remote team, scheduled weekly and monthly calls help us stay connected to one another. We use Zoom meetings for our weekly all-team conversations, our communications and sales calls, our data calls, development calls, one-on-one meetings, and more. We also use Zoom to hold training and strategy calls with publishers and conduct webinars. Zoom lets you record any call or webinar, so we can save development and planning calls for posterity or in case anyone is out of office so that we can share webinars for anyone who wants a recording. One interesting fact about how NetGalley uses Zoom, though, is that we never use the video functionality! Plenty of teams, especially remote teams, rely on video conferencing to see each other’s faces, but we find that we’re able to get that same collegial energy with audio alone.
Like 150k other companies in over 190 countries, NetGalley uses tools from software developers, Atlassian. We use Jira and Confluence for project management and for sharing internal documentation, respectively. Amanda Delatorre, QA Manager, works with the development team as well as the member- and publisher-facing teams to prioritize our development schedule, test new features, and document any issues along the way. Jira and Confluence are crucial to her work. “We use Jira to keep track of technical requirements, to schedule and assign the work to developers, and to show what phase the feature is in (up next, in development, ready for testing, completed). The scheduling is useful for keeping new feature development on track, but it is also an excellent way to keep the entire development process transparent for everyone else at the company who may find technical requirements intimidating. We use Confluence in conjunction with Jira in many ways, but, for me, it is most useful as a documentation repository. When a new feature is being developed and tested, we keep detailed notes around the rules and suggestions on how to use the feature, which we publish to Confluence for the rest of the team so there is never any question about how something is intended to work or what the rules are around the feature, and there is always a place to refer back to.”
Because we share access to websites, platforms, and tools across teams, we need to have a secure place to store shared passwords. Passpack allows us to share passwords with each other securely, and to generate new strong passwords whenever we make new accounts or profiles. Plus, having a shared password manager lets us cut down on emails or Slacks asking one another for login information. If you don’t already use a password manager for your professional or personal life, this article from Wirecutter might change your mind.
We are big fans of this instant messaging service. Having an instantaneous way to chat with one another cuts down on our inbox clutter and speeds up communication. With Slack, we can direct-message one another, create topic channels with multiple team members, and group chat to brainstorm with one another. Also, as a remote team we do sometimes miss the water cooler conversations that happen in physical offices. That’s why we have channels dedicated to non-work talk within Slack!
SugarCRM is how we keep track of our relationships with current and prospective clients. We can see which of our contacts work for which publisher, what their roles are, who our point people are, and what our communication histories are with them. We can archive email conversations to SugarCRM, which lets the team understand any relevant historical background to our relationships with publishers. For Katie Versluis, Sales Associate, SugarCRM is essential. “It is an absolute lifeline for me, as someone whose job is focused primarily on customer management. I look at it as a relationship building tool, since it allows us to easily and effectively stay in touch with our clients in meaningful ways. The email archiving system and the ability to collect notes about each account is crucial for us a team– we can sort through years of history with a client at the click of a button, which helps us do our jobs much more effectively. It also allows us to set reminders for ourselves to check in with a publisher we haven’t heard from in a while, or to send a friendly email to a prospective client who expressed interest in our service. It’s important to us to deliver a high level of customer service, and SugarCRM helps us do that.”
Online To-Do lists
The NetGalley team loves a list. And while a few of our team members use physical calendars and paper to-do lists, most of us are deeply devoted to one online to-do list or another. Several of us are fans of TeuxDeux, which lets you set recurring tasks and create ongoing project lists in addition to daily task lists. Others swear by Todoist. Dana Cuadrado, Social Media & Administrative Assistant, is a Todoist devotee. “The productivity nerd in me loves Todolist for all of the options it gives users. I can nest different items on my list, especially helpful when I have a specific idea for upcoming social content. I love that it tracks how many items you check off via specific date so you can see what days you’re most busy on. There are even more options that I don’t specifically use like setting high priority items or sending to-do agenda items to other team members.”
We use Zendesk to communicate with our communities. On Zendesk, we host Knowledge Bases for both our members and our publishers. These Knowledge Bases have our FAQs about everything from which devices members can use to read books from their NetGalley accounts to how publishers can get the most out of the reports available to them. We also use Zendesk to conduct member support. One major benefit for publishers and authors listing their books on NetGalley is that we handle all troubleshooting and support inquiries from members accessing their books.
Alicia Schaefer, Customer Service and Community Assistant, uses Zendesk to conduct that support. ”Our goal is to make sure any question or concern is solved in a manner that is quick and efficient but is also satisfactory for the person writing in and for the support member. Zendesk helps us accomplish these goals by providing a versatile platform that allows customizable, time-saving automation options as well as advanced reporting features and member and publisher-facing knowledge bases. My favorite feature is the ability to create ‘Problems’ and ‘Incidents’ where all tickets relating to one type of issue can be grouped together easily. This can be a huge time-saver when it comes to locating and following-up with members in a timely manner!”
Camtasia: Create instructional and strategy-based videos
Canva: Generate images and infographics for social media, email, blog posts
VP of Podcasting at Macmillan Kathy Doyle shares an inside look
2019 marked a watershed moment for spoken-word audio. For the first time ever, more than 50% of the U.S. population reported listening to podcasts and 50% reported listening to audiobooks*. Macmillan has spent years developing a robust podcast network to build and then capture that interest in audio content. On their podcast network Macmillan Podcasts they feature podcasts hosted by their authors like Astro Poets, companion podcasts to books like The Girls: Find Sadie, or as completely unique content like Steal the Stars.
That’s why we asked Kathy Doyle, VP of Podcasting at Macmillan, to share her perspective on audio in publishing. She describes Macmillan’s podcasting content strategy – how they design podcasts to best support their authors as well as the collaborative process that brings those podcasts to life. She pulls back the curtain on how Macmillan works with distribution platforms, as well as how she and her team think about creating mutually beneficial advertising relationships.
Plus, whether indie publishers or self-published authors should get in the podcasting game, and what big changes in the industry she’s excited to see in 2020.
What is your history with audio and podcasting?
I joined Macmillan at the end of 2011. I was hired as the director of what was already a podcasting network at that time – called Quick and Dirty Tips. QDT had already been around for 3 or 4 years by the time I joined, but it was a dual platform. It had this major website, which it still has today, and it had a podcasting arm. I was hired to run the collective – the entire network. I have run websites almost my entire career. I started in digital at the Wall Street Journal back when the internet was emerging as a format and already had some familiarity with podcasting in 2011, so I was hired by Mary Beth Roche to take on the entire business unit as its director.
Tell about your role in developing audio strategy at Macmillan
I’m primarily responsible for the podcast networks. We now have two networks, [one of which is] QDT. From QDT we learned a lot about format and what we were finding was that we were trying to put authors of all types into that “quick and dirty” format of providing actionable, interesting information in 8 mins or less. We were finding that we had an opportunity because podcasting was starting to emerge as a bigger, bolder format for media consumption. We had the opportunity to start a second network, which we called Macmillan Podcasts. That really enabled us to strategically use authors of all types from some of the best imprints in the world – Henry Holt, St. Martin’s Press, Flatiron Books – and allow those authors to come onto the platform. We worked with them to develop various types of programming, which was not as contained as the QDT model. We’ve been able to do some fiction, some audio drama, we’ve done a lot of interview format. We’ve really expanded our capabilities from a strategic standpoint on the podcasting side.
What do you think about the relationship between podcasts and audiobooks? Are you both competing for the same ear time?
There’s definitely some crossover. APA came out with a study earlier this year that said 55% of people who had listened to an audiobook have also listened to podcasts. We’ve just seen an absolute explosion in audio as a form of consumption for media. It’s shifting paradigms. It’s really powerful. We don’t feel as though it’s competitive in nature at all. It’s strategic for us. We used to say that podcasts were audiobooks-lite — they were for someone who wanted to dabble in the format or hadn’t listened to spoken word audio before and this gave them a free and somewhat frictionless way to dabble in that media. But I think what we’re seeing is that people who want information via audio want all kinds of information via audio whether it’s short format or long format, book or podcast. Whether it’s because they’re driving or they’re exercising or making dinner, whatever it is, they can do other things while they’re consuming spoken word audio.
So you’re seeing this audio boom as a result of multi-tasking from the listener standpoint?
It can be. It’s not always. I mean, some people are very content to just listen and absorb the content the way they would if they were nose-deep in a book. I can just speak to the fact that we see a lot of research and hear from our listeners very specifically about how they listen to podcasts and audiobooks — what they’re doing at the time of consumption. I had an Uber driver in L.A. say something to me that I hear all the time, “I listen to podcasts to learn. I don’t always listen to podcasts when I’m in the gym. I want music to give me motivation, but when I’m doing housework or when I’m driving my Uber and I don’t have a patron in the car, I want to learn. And that’s when I turn to podcasting.” I hear that all the time.
Let’s turn to Macmillan podcasting specifically. Macmillan Podcasts are divided into two groups – Bold Voices and Addictive Stories. Tell me more about how you developed those two areas of focus.
It definitely happened organically. What happened was we found that we were being approached by editors, we were identifying talent on our own, and it just felt like the right way to start the process early on of developing a catalog — a podcast catalog — in ways that we could define categories.
The Bold Voices really are author-hosted shows where there’s someone with authority — who has something to say — typically nonfiction. All the QDT shows fall into that format to some extent. We have shows like I Love You, But I Hate Your Politics which is [hosted by] Jeanne Safer who wrote a book about how to navigate politically troubled times when you have a partner, a colleague, a family member who you don’t see eye to eye with.
The Addictive Stories, that’s the very elusive driveway moment we’re all looking for. [A driveway moment describes audio that keeps you in your car to listen, even after you’ve arrived at your destination.]
Those are stories that capture you emotionally and you don’t want to let go. So that’s Steal the Stars, our audio drama which we described as Arrival meets Ocean’s Eleven. It had everything – it had heist, it had romance, it had crime, it had all kinds of elements that comprised a very engaging, richly entertaining story that you wanted to binge. But That’s Another Story is our narrative book podcast hosted by Will Schwalbe who is an executive here and also a bestselling author. He talks to people in a very powerful way about a book that changed their life. He’s spoken to everyone from Jodi Foster to Min Jin Lee. he just had the hilarious macmillan author Gary Janetti.
How do you learn about your audience?
There’s a variety of things that we can do. Podcasting is a deeply engaged medium, so we get a lot of listener feedback. We have voice mailboxes set up for every show where people can call in and leave feedback or, in the case of some of the Bold Voices shows or QDT shows, leave a comment or question. We very carefully monitor ratings and reviews, we can learn a lot there. We’ve done some work with little focus groups where we bring people together and do listening parties to see what kind of reaction we get. We’ll get some from our ad broker; that helps give us demographic and other details about the listeners. The other thing we can do is on the backend of some of the distributor platforms, we can actually see things like what we call retention. If you have a 40 minute episode and you see that 60% or higher are dropping off after 20 minutes, [you can learn] about what listeners are staying tuned for, what adjustments we might need to make to the format or the approach to better serve the listening community. The platforms do not have the same consistent information from platform to platform but we sort of know what elements we want to look for.
What factors are you keeping in mind when developing a new podcast?
There’s still this perception that I think is shifting as competition increases and the industry learns more about podcasting, but there’s definitely this perception that it’s really easy to pull off a podcast. And it is incredibly difficult and challenging work. It takes a lot of different people in the mix. We look at talent holistically. We want to make sure that we’re making choices that serve our publishers, that serve our talent, that serve the listening community for our podcasts. It’s all of those things. We get together with potential talent, we talk about an arc or a creative approach to the show. Then, we’ll do a creative brief where we talk about who the audience is just like a book – what are the comps that are out there that we can use as comparisons for how the show might do or the kind of approach we might take? We talk about the creative process, we talk about the workflow and make sure everybody’s on the same page. We talk about the schedule, which is really important. We talk about the business arrangement, which is also really important. We sort of work all that through and then we might do a pilot or a trailer or talk to our distributors about relationships for the show. It’s a really elongated process. It doesn’t happen overnight and it’s very collaborative.
Who makes up the team that brings a podcast together?
One of the best things about working at Macmillan is how incredibly collaborative we are. Everyone from the marketers to the publicists to the editors, we’re all involved in the decision-making process. This is an organization that cares deeply about its authors and takes very good care of their authors. so we want to make sure that we’re making the best possible decisions both for our organization and for the talent.
We will work with the editor to develop the relationship with the author or the host. When we get ready to launch the podcast, we’ll work with the marketer and the publicist from the imprint to make sure we’re all in sync in terms of who we’re pitching to, what kind of work we’re going to do on the marketing side. And then we just make sure that the editors get to listen to stuff before it goes out. We stay in very close touch throughout the entire process. Most communication happens up front but it is a true collaborative effort from start to finish.
Are you proactively approaching talent?
It’s all over the place. We do spend some time identifying talent. We [also] work within our imprints to try and find talent who would make good podcast hosts or guests. On the QDT side we will often bring up an emerging talent who is starting to grow a platform. We will work with them to grow their podcast and then work to help them secure a book.
What makes for a good podcast host?
I think it has to be someone who listens to podcasts — someone who embraces and understands the medium and what the pros and cons of the medium are. I think it’s someone who has to be willing to work and not just sit in a studio and read a script that they just wrote. For us, it’s about the collaborative nature of podcasting, and making sure that everyone is in tune and in sync with the goals and the objectives that we work toward in terms of developing and launching a podcast.
[For new hosts] we will do some training. We had a conversation this morning about one of the QDT hosts who was interrupting a guest with “uh huh” and making auditory affirmations as you would in a normal conversation. In podcasting we tell our hosts, “Tell your guest up front that you won’t be acknowledging them because you might not be in the same room.” If it’s a Skype interview or done via the studio, they can’t always see the person they’re communicating with. So it feels very natural to want to say “uh huh” or “yes, I agree” but you’re interrupting the flow of your guest’s statement in a way that’s going to make it difficult for the producer to put it out there as great-quality content.
That’s just one kind of small example but I think people who aren’t used to working in an audio format definitely need to be trained and educated on what suits the format best in terms of developing and creating and releasing the best possible experience for the listener — the highest quality for the listener.
We have such incredible guests — a lot of them are authors also, sometimes they’re outside experts. [Hosts] get involved in these really deep, interesting, engaging conversations and they’re so excited about the content they’re getting they forget that they have to be mindful of the format and the experience.
What about distribution? Which platforms do you use, and what benefits do you see from distributing your podcasts on multiple platforms?
I would say one of the advantages we bring to the table is our longevity because we’ve been podcasting for over a decade, we have great relationships with the long-standing distributors like Stitchers, Apple Podcasts and the new players that have come into the space. We’ve worked hard to develop those relationships over time — Spotify, Pandora, iHeart. We have great relationships with all of those teams. We’re not one-off shows just looking to boost our downloads. We are looking to build sustainable, long-term relationships with these partners.
One of the distributors came in recently with some back-end features and functionality that they wanted to test. They wanted to get our opinion; how would we use this data and how would we use these features. So our team got together in a conference room and we went through it with them step by step and we provided them with feedback about how we would use those features. It’s a two way street. Every conversation we have with our partners, we always make an ask — we might be asking for something whether it’s a promotion or for them to entertain a pitch, but we will not get off that call or leave that meeting without saying “How can we better serve you as well?”
What about podcast advertising? How is advertising on the medium changing?
There are two different camps on the ad side. There are branded campaigns which are general awareness and brand lift, so there’s nothing specific the listener has to do except retain that information the next time they’re in the drug store and need to buy moisturizer. There’s also what we call direct response which is really what grew the industry. The Squarespaces and the Mailchimps — they built this space for many podcasters.
Direct response is really labor intensive on our end because we have to make sure the talking points are correct, we have to make sure the promo code works, we have to make sure the URL works. A lot of the times [a promo code will be] mailchimp.com/grammar. Well we have to make sure that page exists before we have our host record that ad and put it out in the feed because we’re protecting our listeners. We want to make sure the ads are as accurate and as compelling and as engaging as the rest of the content. It’s hard work to deliver an ad well and sound genuine.
We also have requirements. A lot of times we turn away from advertisers if our host can’t support their product in a way that is genuine and viable and will make for a good ad read. I hear a lot of hosts on other shows — you can tell they just have the ad points in front of them and they’re literally just reading them with no emphasis with no personal experience with no integrity. We strive to make sure that doesn’t happen. As a result we leave some money on the table. If you’re a big listener, you know.
Not everyone obviously has the capacity of Macmillan or a big publisher to develop such a robust audio strategy. Do you recommend that indie presses or indie authors get in the game of podcasting or audio content?
There’s a lot of debate in the industry right now. I was just on a panel at Digital Hollywood and this was one of the premises of the panel – Do you need a network? Networks bring a lot of great support. They bring resources, they bring manpower, they bring history and experience. All of that said, it’s very competitive.
But if you are someone who has a story to tell, who has an experience to share, who has an expertise that will benefit, I’m all for developing an independent podcast. There are incredible resources out there to teach you how to do just that and the cost point — there’s very little barrier to entry. You need to buy a microphone; you need to buy some software. People can do it independently and some of the best and longest-running podcasts out there started out this way. It’s not as easy as it used to be to make that success happen. But, it’s also a great way to train and to test yourself on the medium before you have a big team behind you. You can try things out on your own that you wouldn’t be able to do if you were a part of a distribution platform or a big network. And I’m really impressed with some of the companies and people in the industry who have come forward to develop incredible training resources for anyone who independently wants to start a podcast. It is doable.
So it sounds like what you’re saying with the indies is that not everyone needs a podcast, but if you feel strongly that you have a unique perspective that fits in audio, and you have the bandwidth, you should learn how to do this and do it right.
Write it down, develop a plan — a full-blown plan that includes what you’d cover in the first 5-6 episodes. A plan that covers the format of the episode, how long you want them to be, how many voices will there be? Will it be just you behind a microphone or will you be having guests? you really need to think through strategically. Treat each episode as if it’s a separate project. Intertwined, but a separate project. And figure out how you want to approach those episodes so that you’re developing a curated collection of your best work.
What new developments are you excited for in audio?
Some of the platforms are developing really interesting social sharing and other kinds of features. Spotify, for example, has developed customized playlists which can be done in a variety of different ways. You can actually integrate a playlist that has music and podcast episodes and then you can share it to your audience. That’s really powerful. We’ve been having a lot of fun with that. QDT has so much great New Year, New You content, so we’ll be developing a variety of playlists that will tackle that topic in ways that nobody else can.
The other thing that I’m watching closely is data attribution. You often hear podcasting referred to as the wild west, which it’s not anymore.That may have been true five years ago but now I think it’s really grown up a lot. Ensuring that we are all reporting our listens accurately is critically important because we all want to monetize with advertisers and they need to be able to trust the data they are getting from us. The Interactive Advisory Bureau has gotten involved. They have developed standards and compliance [for podcasting]. We are compliant on the platforms that we’re on, but not all podcasters and not all platforms are yet compliant with these standards. [We want to be sure] that 500k downloads on this platform is the same as 500k downloads on that platform. There were a lot of discrepancies in the data. So that’s all being resolved and I think 2020 will be a big year in terms of seeing that into fruition.
As people have shifted to the compliant standards, and as the hosting platforms that these podcasts reside on have made changes on their backend to bring those systems up to full compliance, people have seen shifts in their download numbers. Sometimes quite dramatic! Consistency across the board is key and I think we’ll see that by the end of 2020.
One of the challenges on the content side is that of the top 200 podcasts on the Apple platform, 32% are now hosted by major celebrities or influencers. That’s huge. And it makes it really hard for the rest of us. That trend will continue – big name celebrities getting into the space. I think we’re going to see continued consolidation of some of the content providers as it makes sense for businesses to evolve and join forces together. We just saw Wondery and NBC strike a joint partnership. A year or two years ago, [a big trend] was VC money entering the space. That’s what everyone was following really closely. Now I think that’s shifting a little bit towards other kinds of partnerships.
In terms of genres, there’s opportunity and room for YA content. That’s changing a little bit, but there’s still opportunity there. And travel.
What podcasts are you listening to?
I love Dolly Parton’s America. It’s a brilliant new podcast that’s been getting a lot of buzz. I’ve also been listening to a show called The City which is from Wondery. This season focuses on the city of Reno and some aging strip clubs that are causing some issues with the city. I’ve only listened to one episode but it’s really interesting and I will definitely be continuing. There’s another season ofthe Jet Propulsion Lab’s podcast. My son is in aerospace so I follow that closely. And I’ve just become addicted to the daily news shows. I listen to Up First from NPR and I listen to The Daily religiously. I find that especially because I have a long commute those are great ways to stay informed.
At least two distribution platforms now have daily drive playlists that they are curating for listeners based on their listening habits. A lot of our shows are falling into those categories as well. The recognition that podcasting can be used as a means of entertainment and information for your full commute end to end is really becoming reality.
Kathy Doyle is the Vice President of Podcasts for Macmillan Publishers.
She runs the Macmillan Podcast Network, which produces popular podcasts
with the organization’s bestselling authors and book imprints. Current
podcasts range from sci-fi and true crime to literature and self-help.
She also oversees one of Macmillan’s largest digital networks, Quick and
Dirty Tips. QDT produces a dozen weekly award-winning audio podcasts
hosted by subject matter experts on a wide range of topics. Podcasts
include the long-running Grammar Girl and Savvy Psychologist. The
network has a large web presence, too, which features content from the
podcast hosts and a large variety of Macmillan authors.
How University of Nebraska Press uses NetGalley for their trade titles
Academic presses face unique challenges and opportunities in the publishing landscape. Their connection to universities, university funding, and grant funding is a great support as they often publish in more niche areas, but because of this they can’t always count on a built-in audience the way a big romance or YA publisher can. Plus, their books target a range of readers – from academics researching incredibly specific topics to a general trade audience. Because of the particularities of academic publishing, the way that they market books is slightly different from general trade marketing.
Here, University of Nebraska Press shares their NetGalley strategy – from how they decide which of their titles to make available to the NetGalley community, to how they help authors promote their own books, and how they capitalized on a surprise cultural zeitgeist months ahead of the publication of the memoir From Chernobyl with Love.
As an academic publisher, what is your overall NetGalley strategy?
We are an academic publisher and university press. However, we are lucky to have two trade imprints (Bison Books and Potomac Books) as well as a robust list of Nebraska books that are truly for general readers, i.e. creative nonfiction, poetry, sports history, and much more. Because of our unique list, and limited profile on NetGalley, we tend to make books available that we feel appeal to the larger NetGalley audience or books with authors who are well-connected, active on social media, and ready to promote their forthcoming book.
NetGalley widgets have been most helpful when a contact is overseas or they need the book asap for an interview or short deadline. I also love the feedback activity snapshot, along with the reviews. It’s so encouraging to see a cover that’s been “liked” 52 times or that a description is really resonating with readers.
How do you think about promoting titles to both academic audiences and to commercial ones? How do you encourage your authors to promote their books?
Each of our books are important, but not every book has the luxury of multiple audiences. The fact is, some academic books are meant for scholars in their respective fields and not for the casual reader interested in the subject. And that’s ok! NetGalley users can expect our digital review copies to be readable, different, and occupying an area where perhaps larger publishers wouldn’t publish. Those who Favorite our page will see trade books of Western fiction, memoir, poetry, and sports (usually baseball!).
I always encourage authors to talk about their book in public spaces. Whether that’s online or at a bookstore or library event; if an author is engaging with their potential audience their book will likely have more success. My advice for academic publishers is to know your authors’ strengths (and weaknesses). If an author isn’t comfortable doing speaking engagements, set them up for success with an op-ed opportunity to share their expertise with a larger readership that normally wouldn’t come across their book.
What are some of the unique challenges you face as an academic press competing with big trade publishers for reader attention?
It is a challenge going “up against” the big houses. I can’t count the amount of times we’ve had a very similar book set to publish and then a big house announces their title publishing right before ours. Usually their book will drown out our own because of the sheer volume of resources they have compared to ours. But on the other hand, sometimes those situations benefit us because our book will get grouped in with a bigger title’s national review. We also offer books that bigger houses are simply not publishing. That fact alone makes our list unique and hopefully intriguing to our readers.
How do you engage your authors in the pre-publication process?
Katya Cengel is a repeat author of ours. She’s a journalist and no stranger to how difficult it is to promote a new book. We wanted to give her the tools she needed when promoting her work and having the digital galley available [via NetGalley] was a part of that plan.
Katya’s previous books are Bluegrass Baseball: A Year in the Minor League Life (Nebraska, 2012) and Exiled: From the Killing Fields of Cambodia to California and Back (Potomac Books, 2018). The former was published just as I was beginning my career at Nebraska but the book’s topic came up years after when one of the baseball players, Jose Altuve, was named the American League MVP in 2017. For the latter, the focus for Exiled began as regional California but soon became a more national story as immigration and refugees dominated national headlines. She writes about that experience here. For her Chernobyl book, we knew there was interest surrounding the show, so even though it wasn’t to be published until November 2019 – we worked together to get coverage beforehand (Cengel wrote an essay called “Doing Homebrew Vodka Shots in the Shadow of Chernobyl” for the Daily Beast in May 2019, for example).
It seems like there’s a big surge of interest in Chernobyl lately, in part due to the HBO show, Chernobyl. And maybe a general anxiety about climate disasters. How does From Chernobyl with Love fit into this trend?
The interest in Chernobyl and the publication of Katya Cengel’s book was sort of fortuitous. She writes about it eloquently in a blog post here.
She writes, “I was counting on interest in Russia and the region [after the 2016 election] to help sales of my next book,From Chernobyl with Love: Reporting from the Ruins of the Soviet Union, but I didn’t expect the younger crowd to recognize Chernobyl. I had learned this the hard way while lecturing college students about Chernobyl—considered the world’s worst nuclear accident—and being met with blank stares.
Then the summer beforeFrom Chernobyl with Love [published], HBO released Chernobyl, a television miniseries starring Emily Watson that dramatizes the 1986 nuclear plant disaster. Suddenly Chernobyl was all over the news. There were stories in USA Today, the New York Times and Vanity Fair. A generation born after the explosion suddenly was interested in what happened more than three decades ago.”
You left From Chernobyl with Love on NetGalley through its publication date and into its post-pub phase for a month. Why is that the right timing for you?
We left the book available through its publication month because often times, that is when interview requests come in. It gives us and the author a bit more time to provide quick and easy access to the book. The extra time also gives NetGalley readers a chance to finish the book and post a review if they haven’t already.
How do you grant access to your books?
We tend to be pretty liberal when accepting requests to download our books. If you’re a reviewer for a widely known media outlet, ALA librarian, or a bookstore owner or employee, you’ll likely be Auto-Approved. But we love to see readers with blogs or book clubs as well. Some of the best reviews have been from dedicated readers and I’ll try to share those with the authors when we receive them. It’s always nice to hear someone has read and enjoyed your book whether they work for the New York Times or are an avid reader.
How important are consumer reviews to your trade books?
Speaking only for myself here, I think consumer reviews are so important for our books! With all the never-ending-online chatter thanks to social media, it makes it more difficult to promote a book. I think a lot of people are more likely to get a book from a friend’s recommendation. So when I see a bunch of Goodreads reviews that came from NetGalley users, it makes me happy! We normally wouldn’t see that kind of response without engaging in a readerly community.
We love that so many NetGalley members are posting to Goodreads! [As of Jan 28, 2020 52% of the reviews on Goodreads mentioned that they received the book via NetGalley.] Typically those are all organic reviews. For From Chernobyl with Love, I did follow up with users who hadn’t posted a review yet to let them know that the digital galley would be archived by the end of the month. And for users who did, I simply thanked them for their reviews, whether they enjoyed the book or not. All feedback is useful.
What advice do you have for academic presses on NetGalley? How can they get the most out of their title listings?
Any academic press wanting to utilize NetGalley should! My advice is to be honest and realistic about your books – what titles cross into the trade market? If you are promoting a book on NetGalley, have a purpose or plan behind it. Maybe the author is well connected and willing to share widgets often, maybe you expect a ton of review copy requests and can’t send physical review copies, or maybe you want to experiment and see what the NetGalley community is interested in. Whatever the reason, just have one!
Rosemary Sekora is the publicity manager at the University of Nebraska Press. She is on the board of the Nebraska Literary Heritage Association and coordinated the Nebraska Book Festival for four years. She holds a Bachelor of Journalism from the University of Nebraska-Lincoln and is currently working on her masters in creative writing. You can follow her on Twitter at @rasekora.
Upcoming conferences, panels, webinars, and networking opportunities
In February, the publishing industry really gets into the swing of the new year. We’ve caught up on our inboxes, recovered from our holiday breaks, and have hit the ground running! At NetGalley Insights, we’re looking forward to learning more about production and accessibility (including audio production!), marketing, and overall industry innovation.
If you are hosting or attending an event in March or after, email email@example.com so we can feature it.
“The conference, hosted by the Book Manufacturing Institute, will bring together publishers, manufacturers, printers, binders and other pieces of the value chain to help educate those involved in making the printed book. This conference is for anyone involved in the creation of the printed book. Publishers, manufacturers, binders, distributors and others will learn the foundations as well as current trends in book manufacturing. Session Topics will cover the following areas: Pre-press and workflow, paper and other materials, print processes (Offset, Toner, Inkjet), finishing and binding, distribution and logistics, as well as other trends and issues facing the book industry today.“
“The marketplace for short-run and on-demand printing solutions has expanded significantly in the past several years. This program will address where the industry is, how it may evolve, and what you can do now to take advantage of this important manufacturing option. This event is co-located with the Book Manufacturers’ Institute’s “Book Manufacturing Mastered” event, for which a separate registration is available.”
“Please join us to hear four bestselling authors talk about the importance of genre fiction and connecting with readers through unique vantage points. Whether you love reading mysteries, romance, dystopian fiction, or sci-fi, or simply enjoy exploring literary styles and categories, this will be a night to remember. Learn how Sarah MacLean, described as the “queen of historical romance,” links gender and cultural studies in works translated into more than 20 languages. Find out how current events inspire Tochi Onyebuchi (War Girls, Beasts Made of Night) to write science fiction and fantasy for teens and adults. Get the inside story on how Veronica Roth, author of the Divergent series and Carve the Mark duology, weaves her cautionary tales. Hear internationally acclaimed mystery writer Karin Slaughter discuss her latest bestseller, The Last Widow. Moderator Pamela Paul, editor of the New York Times Book Review and all book coverage at the paper, will guide the conversation into exciting new directions.”
“Join professionals in kids comics for this presentation and informal networking event. We will start by chatting with entrepreneur Manuel Godoy about how he started publishing company Black Sands Entertainment from scratch, and has grown it to more than 25,000 books sold, 10,0000 customers, and $500K in gross revenue in less than three years. Then we’ll hang out and talk comics together while enjoying Resobox’s tea and Japanese snacks.Anyone who works in children’s graphic novel publishing or promotion is invited to attend, including artists, writers, editors, librarians, agents, book designers, booksellers, reviewers, etc.”
“Redefining what love looks like. A panel discussion featuring Adriana Herrera, Author and President of NYC chapter of Romance Writers of America, Cindy Hwang, VP and Editorial Director of Berkley Publishing Group, Kim Lionetti, Senior Literary Agent at BookEnds Literary Agency, Kristine Swartz, Senior Editor at Berkley Publishing Group.”
“The theme for this year’s conference is “Publishing in the Clouds: Practical Solutions for Big Ideas” PubWest 2020 will feature keynotes by Charlotte Abbott, founder and director of FutureProof Content Strategy; Laura Brief, CEO of 826 National; Guy LeCharles Gonzalez, project lead, Panorama Project; and Andrew Proctor, executive director, Literary. Pre-conference intensive sessions include (now included free for PubWest members with conference registration): “From Start-Up to a Sustainable Business” and “The Art of Literary Publishing.” The PubWest 2020 Conference will include: Intensive sessions with leading industry experts, lively panel discussions that present new perspectives, informative peer-to-peer seminars, inspiring keynote speakers, fun and valuable social and networking opportunities.”
“Most book publishers are still producing books in the same way they did five or even ten years ago. Anyone starting a new publishing company in 2020 could do well to challenge how things are done by not simply accepting ‘this is the way we’ve always done it.’ But what can established publishers learn from this fresh approach? Ken Jones invites us to rethink how we work by looking at some of the new and emerging tools and services that can help book publishers today. From cloud storage and better communication to ideas and new methods for document creation; from page layout to image manipulation and illustration though to proofing and commenting. Even sharing of advance copies, exporting and publishing can be refreshed.”
Currently less than 8% of the world’s books ever make it into accessible formats. Making our books, ebooks and other content accessible is crucial, both from an ethical standpoint and as a legal requirement. This presentation is aimed at digital publishing professionals wanting to improve their publishing practices using EPUB in 2020. The training plan: Adding accessibility within InDesign, extra Recommend tools (Sigil, Brackets, GreenLight), EPUB types, ARIA Roles & semantics, image descriptions and alt text -Structure, TOCs, Page Lists, Landmarks and supplemental lists, language declarations and shifts, adding Schema.org Metadata, checking accessibility with ACE, modern ebook reading software for accessible EPUB content, Stop Press! Also to include a look at the brand new format recommended by W3C for Audiobooks.
Using NetGalley tools as a centralized hub for your data
We believe in the power of data. Publishers tell us all the time that they’re looking for more ways to use the data that’s at their fingertips, and we are always happy to work with publishers to help you develop your own unique strategies to use data to target followup, track where reviews are being shared, and to build an even more engaged community on NetGalley. But it’s also important to take a step back and look at the big picture. Early data across titles, imprints, and time can give you real wisdom about what’s working, how you can expect your books to perform, and how to give every book its greatest chance of success.
So, we’re reinforcing that bigger picture–why you should be looking at your early data, plus some ways that you can use both NetGalley Classic and NetGalley Advanced as a centralized hub for data collection and analysis.
Understanding likely results is a crucial part of setting expectations and creating new goals. In NetGalley, you can compare historical data to see how other similar titles have performed in the past, helping you more easily develop those benchmarks and expectations.
“There is never a one-size-fits all marketing plan,” says Kristina Radke, VP, Business Growth at NetGalley. “Publishers have a lot of considerations when building their strategy — genre of book, debut versus established author, marketing budget, pub season, etc. — and they should also be thinking specifically about what they’ve learned from past performances.”
The Title Summary Report shows side-by-side NetGalley activity for a custom group of titles to help you understand standard performance as you’re setting new goals. The report includes Impressions, Requests, Approvals, Downloads, and amount of Feedback, among other data points. You can choose to view a list of titles based on pub date and category, and even narrow based on imprint or whether the books are still active on NetGalley.
For instance: If you’re curious how your Science Fiction titles performed this year compared to last year, use this report to see all of those titles together to understand how that category is trending. Or, if you have a forthcoming book from an established author, you can use this report to find all of your titles from that author in order to see how the previous books performed on NetGalley. This report helps you to more easily set expectations for the new book, or come up with a plan to outperform the previous titles.
One of the important ways that publishers are setting benchmarks is by looking at an author’s previous books or relevant comp titles. The Title Summary Report makes this research easier for you. You can generate NetGalley reports based on specific authors or ISBNs.
This type of reporting centralizes a number of different data points that you can use when planning acquisitions or identifying new market trends. For instance, if activity for a book series is decreasing with each new title, a publisher might consider updating the cover design or re-engaging fans with a promotion. If cookbooks are consistently outperforming expectations, you might bring that information to your acquisitions team looking for the next big thing.
Set your goals before looking at data
Once you have a good understanding of the expectations for a particular type of book, the next step is to clarify your specific goals for the new title. After identifying which metrics are most important to you and what kinds of numbers you’re looking to achieve, you have a better framework for engaging with the data you’ll receive from a new promotion.
Success on NetGalley looks different for different publishers, different authors, different books. It might mean a specific conversion rate from Impressions to Feedback, number of nominations for LibraryReads and Indie Next, or reaching a certain threshold of reviews on retail platforms around the pub date.
Valerie Pierce, marketing director, retail marketing and creative services, at Sourcebooks told NetGalley Insights that when she and her team measure success, they look at a number of different factors. She said, “We have a few key lists that we look at to determine how the pre-publication promotions for a book are performing.” This includes NetGalley requests, cover votes, Indie Next and LibraryReads nominations. She and her team set goals based on past performance of in-house comp titles. “If the number is [below target], we know we have to stop what we’re doing and completely re-strategize. If the number is average, then we look at ways that we can improve them. And if the number is higher than we anticipate, then it not only means that we’ve got a winning strategy – it also means that this might be a title to pour additional resources into. This could include going back to the sales team and asking them to go back out to their accounts, reallocating budget money so that we can fund more advertising, and going back out to media.”
NetGalley reporting provides relevant information for a variety of different metrics and goals to help you get the information you are looking for in a streamlined way.
Measure ROI on marketing and publicity efforts
We know that when you invest time, energy, and marketing dollars into a promotion, you want to know whether that investment was effective. By looking at the Title Activity Chart, you can see spikes in impressions, requests, and other activity, and easily correlate them to campaigns both on and off NetGalley. This line chart visualizes information to show you the impact of your marketing.
“Why wonder, when we can know without a shadow of a doubt, how a campaign performed?” asks Lindsey Lochner, VP, Marketing Engagement at NetGalley. “Having the Open Rate for an eBlast is valuable, but actually seeing the direct result that eBlast had on your book’s overall activity, over the course of its life on NetGalley — that’s powerful. Experimenting with various promotional tools and tracking the results will allow you to determine which efforts are worthwhile for particular types of books and goals.”
Here are some real-life examples of how the Title Activity Chart shows the effects of publishers’ marketing and publicity efforts on and off NetGalley:
Coordinated NetGalley marketing opportunities boosted activity for this Nonfiction book several months after the book initially went live on NetGalley.
The spikes of activity in August for this Fiction book were not coordinated through NetGalley’s email or on-site promotions, showing that the publisher successfully increased activity through their own efforts.
Inclusion in a NetGalley Newsletter boosted activity for this YA book, far exceeding even the initial excitement when it first went live for members to request.
Small spikes of activity throughout this timeline demonstrate consistent successful efforts to drive audiences to this Children’s book on NetGalley.
Be willing to pivot
Data can show you when you should abandon your current path and pivot to something new. If you’re disappointed with the response you’ve gotten, whether that’s a low number of requests, critical feedback about the cover image, or poor reviews of the book, use that information to adjust your strategy.
Look at the Reason for Request section (on the Title Feedback page, or the downloadable Snapshot PDF report) to understand if your book description is effective. This area can also demonstrate if your overall brand and author awareness is high, depending on how many members respond that they “keep hearing about this book.” You might boost your social media efforts, or encourage your author to pitch essays related to their book to news outlets to increase word-of-mouth if the responses are lower than you expected.
Also consider the Cover Ratings on this page to understand how early readers are reacting to the cover art.
We all know the old adage, but it’s impossible to ignore the fact that people DO judge books by their covers. The NetGalley community is overall very positive: when it comes to covers – they rarely click the thumbs down button unless they feel particularly strongly. So if you notice a lot of dislikes on a cover, it’s a good idea to have a conversation with the design team about reworking the art.
Cover Ratings are also an indicator when strategies are working. Brian Ulicky, publicity and marketing director for The New Press uses feedback from the NetGalley community to confirm that he and his design team are on the right path. “Covers are one of the most important pieces of marketing any book gets, and if the NetGalley community loves our designs, we must be doing something right. It’s helpful to have early feedback inform and confirm our very involved, iterative process of designing and choosing covers.”
The Top Performers chart is an easy way to see comparative performance for any active titles on NetGalley, filtered by type of activity and by category. For example, publishers can compare performance across all of their Nonfiction titles, based on which have the highest star ratings. This will help you predict what will happen with these books once they go on sale, or indicate where you need to boost your efforts.
When considering the Top Performers, take note of the conversion rate. First filter to view books with highest Impressions, and then switch to view books with the highest number of Requests. This can be extremelytelling! If you have a book with a lot of Impressions, but comparatively low Requests, you’ll know that members decided against requesting the book after reading the description and looking at the cover. The question then becomes: Why?
You might try to optimize this conversion by revising the book description, or adding any missing information to the title record. If you can identify these necessary changes pre-publication and work to increase the NetGalley conversion rate before pub date, you can expect that the conversion from impression to sale will be easier to get once the book hits shelves.
The NetGalley Advanced Word Cloud can help you identify the strongest ways to talk about your book. Publishers already look at reviews to see what is resonating with readers, but the Word Cloud makes the process less manual and more visual. It’s created from the actual reviews that members submit for that book, making it a powerful tool to quickly identify readers’ sentiment beyond a star rating, and give you a better idea of what words are most relevant for the book’s marketing efforts.
“Audience language has been proven to be the most effective source of keywords for titles,” says Joshua Tallent, Director of Sales and Marketing at Firebrand Technologies. “How your reviewers think about your books, and the language they use when describing them, will correlate well with how new customers search for your books.” The NetGalley Word Cloud is a great way to understand your audience better, supplement your book description for SEO, or add keywords to your metadata. Plus, if you’re looking for even more quality keywords for your books, Firebrand’s Keywords service uses artificial intelligence and machine learning to generate keywords from multiple sources of audience language. (Including NetGalley!)
Understand your audience and how you connect with them
Are you reaching your target audience on NetGalley? If you’re working to connect with librarians or booksellers specifically, the Activity By Member Type chart will show you how well you’re doing. Not only can you see how approvals for these members compare to others, you’ll also see their follow-through, including whether they downloaded the book and if they provided Feedback.
On NetGalley.com in 2019, NetGalley members provided nearly 612,000 Reviews and Feedback! Reviewers provided Feedback for 41% of the titles they were approved to download, while Educators shared Feedback for 30%, Librarians shared for 23%, Booksellers for 20%, and Media for 19%.
It’s natural that Reviewers submit the most Feedback, whereas Educators, Booksellers, and Librarians tend to use NetGalley to consider new books to purchase for their classrooms, stores, or libraries, and Media use NetGalley to prepare for interviews and to be better informed about which new books are forthcoming.
When looking at these charts, remember to consider your benchmarks as you set expectations.Determine how many new Bookseller requests you are hoping to receive, and then look to see if you reached that goal after the promotion. If you didn’t hit your mark, adjust your strategy as necessary.
Early Data in Action
In our case studies, publishers and authors tell us about how they use the early data from their NetGalley accounts to drive their actions.
Jess Bonet from Random House
uses NetGalley reviews to see what is resonating with readers and to
adjust her marketing language accordingly. She said, “The Feedback
Report is the tool we most commonly use. It’s so helpful to see what’s
resonating with readers before a book goes on sale, so we can adjust our
messaging accordingly. Around 3 months before a book goes on sale, our
team will meet and discuss review feedback, largely from NetGalley, and
adjust copy as necessary. We came to realize that readers were really
responding to Taffy’s raw honesty about dating and marriage in the 21st century, so we played that up in our ad copy and our copy feeding to retailers.”
Laura Gianino at Harlequin looks at who is downloading their books so she can pay attention to what types of members are interested, and to drive very targeted follow-ups for reviews and media coverage. She said, “The data was one of the first indications about who was interested in the book.” It helped her to identify the media she pitched, and who followed through to access the book, indicating that they may be planning coverage of this title.
Cynthia Shannon from Chronicle
shared early reviews with her sales team so they could show them to
book buyers and make the case for carrying in-store. She said, “This
helped shed insights into how customers were responding to the book.”
We want to hear which data points are most important to you and how you are using NetGalley to access that data. We’re also always here to help you strategize about developing benchmarks and data-driven goals. Drop us a line at firstname.lastname@example.org.