Skip to main content

How to Query a Book Publicist

When I first started offering publicity services for authors (many years ago), the winter months were often a slow time for me workwise. Now, with so many authors self-publishing, I receive more queries in the fall and winter than at any other time of year.

To help authors get the best response with their queries, I’ve listed some general tips on the best way to approach a publicist.  ...




Do a little self-analysis first.

Before you decide to contact a publicist, take a few moments to consider whether your book and your own personal platform are ready for the kind of promotional work that a publicist will do for you.

Has your book been professionally edited? Has the cover been professionally designed? Do you have a website and social media sites? Have you thought about who your readers are and where you can best reach them? What kind of platform do you have? If you don’t have a platform, are you in the process of creating one?

Know what you’re looking for in the way of promotion and what you can afford.

If you have a platform and a book that has been professionally edited and is ready for distribution, your next step is to think about what kind of publicity you’re interested in pursuing. Some authors want to take their books on tour, others want media exposure, and some prefer online marketing. There is no right or wrong way for any author to promote, but those willing to do the most work to expose their books to their target audiences will make the most headway. If your budget is tight, that’s fine – know how much you’d like to spend, and then think about what you’d like to do within that budget framework.

Query only when your work is ready.

Even though I state on my website that I only work with authors whose books have been professionally edited, I still receive copies of books with typos, incorrect grammar, and significant writing flaws. The same goes for book covers – many of the samples sent to me have covers that have not been professionally designed. Please be sure your book is ready for publication before you send it to me for review.

Put your best foot forward.

The email message you send or the telephone call you make to a publicist is often the first indication of what it will be like to work with you. I receive many email messages where the author requests info about pricing or types of promotion, but offers no information about his book or the type promotion he’s interested in.

Oftentimes, these email messages demand information with no introduction. Messages like: “Hi Paula, Can you send me your prices on publicity?” are not likely to receive a positive response. If you truly want my help, then help me know more by telling me a little about what kind of books you write, what kind of background you have as an author, and what you’re looking for in the way of promotion.

Don’t send queries via Twitter and Facebook.

I’m surprised at how many authors will ask questions via social media, especially Twitter, about services and fees. Since we're only allowed 140 characters in a Twitter response, it’s difficult to answer questions in any kind of detail this way. If you’re serious about querying a publicist about publicity work, and/or if you have questions about the process, it’s probably best to email that person directly (you can reach me at paula@paulamargulies.com).

What I like to see in a query:

1. The title and a brief description of the book.
2. A brief summary of your background and experience as it relates to the book’s contents.
3. A brief statement of what you’re looking for in the way of publicity.
4. A sentence indicating whether the book will be traditionally or self-published and expected publication date.
5. If self-published, a sentence indicating whether the book has been professionally edited and designed/formatted and who has done that work for you.
6. For a book that is already published, a link to its Amazon page, website, or other retail site, so I can easily access that info.
7. Your full name and contact information, including email address and telephone number in case I would like to reach you by phone.

And here’s what not to include in your query:

1. Don’t attach a full manuscript. I may not represent the type of book you’ve written and even if I do, I generally don’t print out books sent to me by email.
2. Don’t tell me how much your friends and family loved the book or that others have deemed it a potential bestseller.
3. Don’t include pages of testimonials or blurbs from others about the book. A simple description or brief list of who has offered to blurb the book will suffice.
4. Don’t try to negotiate some type of commission structure for payment; most publicists charge a monthly retainer or an hourly rate for their services and do not work on commission. It’s best to wait until the publicist agrees to take you on before discussing payment options.

The majority of book publicists have websites with information about the types of services they provide, and specific advice as to what they’d like you to include when you send a query. It’s best to check the website first and follow the individual publicist’s requirements as you put your query together.

Finally, be patient with us if we don’t get back to you right away – sometimes we’re on deadline for current clients, traveling, or busy with other issues, so it can take a few days to respond.

As always, if you have any questions about what I’ve listed here, or about the query process in general, feel free to contact me at paula@paulamargulies.com. Happy querying!

__________
Paula Margulies is a book publicity and promotions expert in San Diego, California. You can reach her at paula@paulamargulies.com, or visit her at www.paulamargulies.com, on Twitter at @PaulaMargulies, or on Facebook at Paula Margulies Communications.

Comments

Worthy WE Wisdom

The Six Act Two-Goal Novel

What makes for good drama is a constant. To begin, we combine Siegal's "nine act structure - two goal" screenplay (very much like the Syd Field three act except that the "reversal" from Field's structure joins "Act 5" in Siegal's version) with the Field classic three act. The Two-Goal Structure, Siegal maintains, creates more dynamic plot tension due to the insertion of PLOT REVERSAL later in the story. We concur.  NOTE:  "Plot Point" is defined here as a major occurrence that emphatically changes the course of the story. In the genre novel as a whole, we see three to five major plot points depending on various factors: a first PP that begins the rising action, second PP defined by the first major reversal, a third PP defined by a possible second major reversal, a climax PP, and a theoretical PP residing in the denouement, i.e., we think the story is going to resolve a certain way after climax, but a surprise happens that resolves...

"Top Ten Worst Pieces of Writing Advice" (and it gets worse)

OUTSIDE OF NARCISSISM, IMPATIENCE AND BAD ADVICE ARE A WRITER'S WORST ENEMIES . If you ever attend writer events, you will never cease to hear utterances of bad writing advice, the popular kind that circulate like  ruinous viral memes through the nervous systems of America's aborning novel writers. And each time you are exposed, you either chuckle or swear, depending on your mood and the circumstance. You might make a daring attempt to kill the meme in its tracks before it can infect someone else, or you might just stare at the writer with a dumbfounded look and ask, "Where the hell did you hear that?" Yes, the primal question: WHERE THE HELL DID YOU HEAR THAT? Inevitably, many will point to their writer's group . Ahhhh, of course , you think. Why just recently at an Algonkian event , one of my faculty (a former senior editor at Random House) and I were faced with an individual who adamantly asserted to us both that using only one point of view to write a n...

What Makes a Good Memoir?

By Paula Margulies As a publicist, I'm sent books of all genres by authors interested in my services, but lately I seem to be on the receiving end of a lot of memoirs. I've also spoken to a higher-than-usual number of memoir writers, who either telephone or approach me with questions at writer's conferences. The bulk of these conversations have to do with why their memoirs aren’t selling and what the authors can do to make them better. My first suggestion for all memoir writers is to take a look at their market and identify the different types of people who would want to read their book. This is tricky, for while many memoir writers have done a good job of detailing certain aspects of their personal history, a number of them have not thought about who might be interested in reading what they've written. A lot of memoirs I've seen recently are nothing more than personal recountings of an individual’s experiences – some of which are, indeed, memorable. But I...

Labors, Sins, and Six Acts - Official Novel Writing Guide - All Genres

An ideal first stop... You will discover below a series of scholarly, researchable, frank and indispensable guides to conceiving and writing the commercial genre novel, as well as the plot-driven literary novel. But the cutting edge of the developmental peels and prods as presented makes an initial big assumption, namely, that you are honestly desirous of true publication either by a classic publisher or traditional literary press , and therefore, willing to birth the most dynamic and can't-put-it-down novel you possibly can. Further, you are also naturally desirous of great sets, mind-altering theme, unforgettable characters, and cinematic scenes, among other things. Does that go without saying?   Perhaps, but you must know, it won't be easy. Labors and Sins First of all, the method-based assertions and information we've gathered and elevated before your eyes below will shiver many of you like a 6.5 on the literary Richter scale because it will contr...

Loglines and Hooks With Core Wounds

HOOK OR LOG WITH CORE WOUND AND CONFLICT Your hook line (also known as logline) is your first chance to get a New York or Hollywood professional interested in your novel. It can be utilized in your query to hook the agent into requesting the project. It is especially useful for those pitch sessions at conferences, lunches, in the elevator, or anywhere else. When a prospective agent or editor asks you what your book is about, your high-concept hook line is your answer. Writing one also encourages a realization of those primary elements that will make your novel into a work of powerful fiction.  The great novel, more often than not, comprises two stories: the exterior story or plot line, and an interior story focused primarily on the protagonist, one that defines and catalyzes her or his evolutionary arc throughout the novel. For example, a protagonist with a flaw or core wound that prevents her from achieving a worthwhile goal is forced to respond to a lifechanging event instig...

"High Concept"? Sufficiently Unique? - Write a Tale That Might Actually Sell

Aspire to be a great genre author? So what's your high concept?...  If you fail to grasp the vital importance of this second question, you will fail to conceive much less write a publishable genre novel - thriller, mystery, fantasy, horror, crime, SF, you name it. Just not going to happen. Don't let any writer group or self-appointed writer guru online or writer conference panel tell you otherwise. You're competing with tens of thousands of other aspiring authors in your genre. Consider. WHAT IS GOING TO MAKE YOUR NOVEL STAND OUT from the morass of throat-gulping hopefuls who don't know any better? Believe it or not, 99.5% of the writers in workshops all across the country *do not* arrive with a high-concept story. If anything, their aborning novel child is destined for still birth. They strut forward proudly waving their middle or low concept tale while noting how their hired editor from Stanford, or Iowa, or the Johns Hopkins MA program just "loves it!...