Guest Blogger - Barry Eisler on Advances the New Marketing Budget
Barry Eisler posted a comment to the topic of the week: Advances - The New Marketing Budget that was so interesting I asked him to guest blog for a few days. Here's his first post:
Having just returned from the Killing Rain tour, I've been following the thread on drop-in signings with a lot of interest. Joe Konrath put up a great post on the subject and I recommend it to anyone who might have missed it.
As with any investment, analyzing the value of drop-ins means weighing the costs and benefits. Drop-ins can be pretty labor intensive -- you have to map out the itinerary, drive to each store, spend time in each store... I know because I've been doing exactly that throughout Northern California for the last few days. Generally speaking, including planning, you have to figure at least an hour a store (eventually, with luck, you might be able to hire someone to do the planning, which would reduce the per-store average to maybe 45 minutes. But then your dollar outlay would be higher). Okay, we have an idea about the cost, what's the value?
Bookstores will tell you that signed copies sell much better than unsigned. Although I have no proof, I have a feeling this is partly true. I say "partly" because if your book is spine out in the general fiction section, no one will see that it's signed anyway, so the autograph is unlikely to help move the book. But if you're fortunate enough to have a publisher that's paying the bookstores for special placement (front tables, endcaps, dump boxes), then customers will definitely see the "autographed copy" sticker and there's likely to be value in that.
A lot of this applies to formal signings, too. And formal signings have the additional benefit of more direct customer contact (this value of course depends on the size of the crowd), and more opportunity to meet the store personnel and get them pumped up with your talk (but of course you should be meeting the store personnel when you do drop-ins, too. That's part of the potential value).
But there's another reason, less obvious but much more important, to do drop-ins: they're a great way to recruit your publisher. And I would argue that until you're a huge best-selling author, probably only ten percent the benefit of any promotional activity lies in its "intended" value. The rest of its value lies in recruiting your publisher. Whatever you can do for yourself pales in comparison to what your publisher can do if they want to. So it's worth demonstrating to them that they'll get a return on additional promotional investments.
How to do that, of course, is a whole separate story. And because I think it's fundamental -- foundational, really -- to all the author's other efforts, I'll have a bit more to say about it shortly.
The thread Barry mentioned is on my blog, http://jakonrath.blogspot.com, where I did 105 drop-ins in 11 days and learned quite a bit in the process.
Though having co-op placement (window, register, dump box, new release table, end cap) allows for a higher profile display and likelier customer purchase (and signed copies add to that), even Mary Midlist with two paperbacks in the Romance section can benefit.
Barry, I feel you're underestimating the importance of the human contact, in this case author/bookstore employee. Impress someone working the register at a Border's, and she'll read your book. Once she's read you, she's a fan. She can handsell you. She can keep your books on the shelf even when the home office says they need to be stripped. She can reorder more copies even though the computer says she shouldn't.
I've had bookstores handsell dozens, even hundreds, of my books. All because they met me.
Plus, in almost every drive-by I did, once the books were signed the employees promised they'd be prominantly displayed. I didn't even have to ask. Though I'm fortunate to have some co-op placement, in many cases my books were spine-out in the Mystery section. But once I signed them, they were moved to an end cap by the bookseller.
Bookseller like to meet authors, and they like to display signed books. It shows customers that they have a connection with authors, and that authors value their store enough to sign there.
Remember--my publisher didn't tour me for my first book, and I had no co-op. But I did a lot of drop-ins, and my publisher noticed, leading to a larger print run, more co-op and advertising, and a publisher tour.
Recruiting your publisher is a great point, and hugely important. But selling those extra books is important too, even if it is only a few hundred.
Let's say you have a two book hard/soft deal.
Book #1 has a print run of 15,000. Your publisher expects to sell half of that, 7500, which is a standard sell-through for a new author.
But because there wasn't a lot of promotion, or co-op, you only sell 7000. Still respectable, but you aren't knocking their socks off.
Book #1 goes into paperback. They might have projected a 50k print run, but because hardback sales were weak, this drops to 40k. That means less promo dollars, less in-house enthusiasm, less puch fromt he sales reps to get the book into stores. No one wants to back a loser.
And for Book #2, the hardcover run also goes down, to 12k. Book buyers see this, view what sold previously, and buy less. Again, you have a smaller promo budget, less in-house enthusiasm, and your chances for a second contract don't look good.
The key to fixing this is promotion. Getting your name, and yourself, out there and selling the books. Ads, reviews, library talks, conferences, conventions, internet marketing, snail mail campaigns, website contests and booksignings. Meeting the booksellers and the fans is what can make the difference.
The Whiskey Sour paperback was released 2 months ago, but the hardcover hasn't been remaindered yet, even though it's been out for 15 months, because it is still selling. Because I'm the one selling it. Slowly but surely.
I'll be super candid here; this business scares the crap out of me. I spend hours in bookstores, hand selling, and am shocked by how few books sell. Those that do sell are because the buyer knows of the author, either by reading previous books or hearing about the books some how. The amount of books sold to browsers---those folks who will plunk down $25 on a new author they've never heard of---is very tiny.
Even a recent NYT bestseller sold 4900 paperbacks in Waldenbooks chain in 3 weeks.
Do the math. There are 700 Waldenbooks stores nationwide. Each sold about seven books in 21 days, or a book every 3 days.
One book every three days is not a lot (and these are paperbacks). Each day had ten hours worth of traffic--between 300 and 1000 customers a day, and for two out of every three days, her new book went unsold.
And she's a known name with a huge fanbase. She'll sell better than any of us.
Chances are, Waldenbooks will get two or three copies of your book, where they'll sit on a shelf for 4 months, then get returned for credit. because no one is going to buy your book if they've never heard of you.
Go to a bookstore. Look at the bestseller rack. Sit and watch it for eight hours (I've done this dozens of times). See how many copies of Lee Child's new one sell. You'll be lucky to see one get sold. And he's Lee Child.
There are exceptions. The Traveller. The Historian. DaVinci Code. Potter. 5 People in Heaven. But it's doubtful you'll be an exception.
So who is going to sell these books?
You are. That means meeting the booksellers. Meeting the fans. Signing stock. Doing drop-ins.
Signed books have a better chance at selling. Signed books that the bookseller recommends are an even better bet.
Do this as often as you can.
Posted by: JA Konrath | August 09, 2005 at 11:24 AM
Joe, I gotta agree: This biz scares the hell out of me, too. But much of what you and Barry are saying boils down to something we all know: This is a game and it is all about getting your name recognized out there. I know that sounds cynical, but it is sooo hard to get noticed nowadays. Still, no matter WHAT you do, if your work isn't solid, if your stories don't strike a chord with readers, nothing you can do will make a difference.
Posted by: PJ Parrish | August 09, 2005 at 08:48 PM
Good discussion about drive-bys and promotion.
Let me offer a slightly different circumstance.
My publisher is an academic press that isn't accustomed to marketing genre fiction. Advances are small and the budget for promotion beyond sending ARCs and review copies is limited. The sales force outside of New Mexico is contract/freelance. And, forget about co-op dollars. If my book gets displayed prominently in a bookstore, it's because someone there likes it.
Though I'm grateful for the support I do get from my publisher, it isn't enough to build my career. So, I do a big part of my own marketing. In the process, I'm helping to educate my publisher about marketing popular fiction. This costs me money--and I'm willing to do it--because I'm growing my audience.
Through cultivating relationships with booksellers, readers, writers, and reviewers, I've been able to do what the freelance sales force hasn't: bring national attention to my books.
It's a slow build for me--but it's working.
For the first time, I'm going to do some drive-bys--but if San Francisco is any indication, I'm not going to be signing books--I'm simply going to be introducing myself and beginning more relationships. I thought with the Agatha Award Nomination, people would have heard of me--but many, many booksellers haven't.
It feels unending sometimes.
But, I believe it's worth it. The results I got for THE CLOVIS INCIDENT were good. I hope to do much better for THE BELEN HITCH.
Posted by: Pari Noskin Taichert | August 09, 2005 at 10:34 PM
'If one is lucky, a single fantasy can totally transform a million realities.'
-Maya Angelou
Top advice Barry. Many thanks
Posted by: Jozef Imrich | August 10, 2005 at 02:52 AM
PS: Barry your hyperlinked name at the top of the article is showing error ...
Posted by: Jozef Imrich | August 10, 2005 at 02:54 AM
Great comments everyone, thanks.
Joe, maybe the main point is that you get more value, more bang-for-the-buck, from drop-ins where your books are prominently displayed, but certainly that's not to say you get no alue from drop-ins even where they have only a few copies of your books, spine out. And again, part of that spine-out value lies in recruiting your publisher, so that on your next tour you're doing drop-ins at stores where your publisher has bought placement. Your own efforts for Whiskey Sour and Bloody Mary are textbook evidence that the first kind of drop-ins (spine-out only) can help lead to the second (prominent placement).
PJ, thanks for the reality check -- I can get so sucked into discussing marketing stategies that I forget to mention the importance of a quality product. After all, Cormac McCarthy's promotion has consisted of two interviews in twenty years, and he's doing okay (anyone read No Country for Old Men yet? Terrific.). Of course, even McCarthy might be selling a lot more books if he got out there an mixed it up with his public... The point is, there's an optimum balance between the inherent quality of the product and the amount and kind of marketing behind it. The trick is to find that balance, ne?
Posted by: Barry Eisler | August 10, 2005 at 10:42 AM
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