Your stories deserve to live long, and prosper by Faye Snowden

I was thrilled when Angela Crook asked me to join 7 Criminal Minds. So, a big thank you to her, and a shoutout to the group for the warm welcome. Though I’m new here, you’ll learn that I’m definitely not a wallflower. And I was glad to hear that twisting the rules like taffy is perfectly acceptable. I may do so occasionally, but I will be careful not to break anything. Promise.

This month’s question about promotion is a good one. Some writers would say it’s the least noble thing about writing. Others go even further. They say that promotion has nothing to do with writing. (I imagine them saying this while sipping a cocktail containing absinthe, and sucking on a cigarillo.) I disagree with both of these ideas about promotion.

Hang in there with me for a moment.

As James said in the post before mine, we write because we are storytellers. I myself come from a long line of writers. My daddy wrote poetry. According to my mama, he paid for his chapbooks with money meant for the light bill, and read his rhythm and rhyme vignettes all over Compton. My grandmother wrote articles for her local paper, and my great aunt, Ruby Goodwin, authored a book called “It’s Good to be Black” in 1953. I hear her son wrote for Hollywood, including Bonanza, The Big Valley and All in the Family. So, I write because it’s in my blood. I also enjoy the challenge of transforming the blank page or a stream of consciousness into a story that will ultimately reach readers. Without readers, stories exist only in conversation with the writer. And we all know talking to yourself is a sign of madness. But in the hands of readers, a story grows, permutes, and takes on a life of its own. 

Ruby Goodwin & Bonanza Ep. Joshua Watson

That’s why promotion is vital to the craft.

I’ve made bookmarks, business cards, and stickers with my upcoming titles. I’ve done the bookstore rounds and talked to empty seats. I’ve appeared on more podcasts than I can count while thinking I’ll scream if I hear again the same question I’ve already answered a hundred times. (I never did, by the way. Scream, I mean.) I’ve put together enough goodie bags to make kids attending a birthday party apoplectic with jealousy.

But the best money I’ve spent on promotion? That was hiring a publicist for my last book, A Killing Rain (Flame Tree, 2022), and my upcoming book, A Killing Breath (Flame Tree, coming March 31^st). I made this investment because it ain’t no joke writing novels with a full-time day job, and six grandkids who don’t give two craps about promotions if Ma’dear can’t help make chocolate chip cookies. While the things I had been doing helped my stories get noticed, having a publicist significantly increased momentum. Rain was longlisted for the CWA Gold Dagger, and won gold in the Foreword Indies award. Publishers Weekly has already given a nice review to upcoming Breath. Would those things have happened without a publicist? Perhaps. But I was much too busy to take a chance and find out.

If you decide to go the publicist’s route, here is a bit of advice.

·       Lower your expectations: Working with a publicist is a bit like gambling. I know, I know, I said they helped me. But what you are buying from a publicist isn’t a guarantee that your story will get buzz or sales; it’s access to their media contacts and expertise. Your book might blow up (in a good way). What’s most likely to happen, however, is that you as a storyteller might start to get noticed, especially if your book resonates with readers.

·       Do your research: First, talk to at least three publicists and insist on references. Pretend that you’re hiring someone to remodel your kitchen. Don’t be desperate. Be prepared to walk away.

Second, and this is really important, know what it costs. You can hire a publicist for a few thousand dollars or twenty-five thousand dollars and up depending on what they provide and their track record.

Third, publicists, to protect themselves from your high expectations, may present you a contract with many loopholes. Do yourself a favor and have it looked over by a lawyer, even if the only lawyer you know is your cousin, Vinny. At a minimum, make them commit to who they are reaching out to, bi-weekly or monthly reports in a format that includes deadlines and responses, as well as regular meetings. Have a reasonable (for you) exit clause in case things don’t go well. Also, lawyer.

·       Don’t break the bank: Remember when I said having a publicist doesn't guarantee success? Only spend money that you can do without. I know, that’s tough. But please don’t charge up your credit cards, or get yourself into debt. If a publicist asks you to do this, run. Save going into debt for rainy days and emergencies. All that means is that you’ll have to find a way to integrate promotion into your life like I did at the beginning. Joining writing groups, building a network through conferences and group author appearances still work. 

Finally, study the craft, write often, and tell the best stories that you can. Always promote so that your story can live the good, full life it deserves.