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The following article was published in the "Women Writing the West" Newsletter, Volume XII, Issue 2, Summer 2005.

Recipe for Going Beyond the Traditional Author Tour: Include Innovation on the Menu

by Laurel Anne Hil

I sat in the rear of the crowded BEA meeting room, waiting for the “Making Readings Work” seminar to begin. More people poured through the door. They sat in aisles or leaned against walls, the room packed tighter than a fully loaded moving van. The moderator introduced the seated panel of bookstore managers and publicists. Backs of heads obscured my view.

This morning’s Wall Street Journal had described a “happy warehouse” filled with books awaiting distribution and a “sad” one stacked with unsold returns. Which warehouse would hold my novel when my agent found a publisher? So much depended upon what authors do.

  “People don’t magically materialize in bookstores for author events,” one presenter said. “And they won’t take time to attend most traditional readings. These days, you have to offer a unique experience--a show.”

“Food helps,” another panelist said.

I jotted notes on page after page of a lined yellow tablet. A staggering amount of information. How would I organize it in a useful format? Food helps. Maybe I should compare marketing a book with planning a buffet, something I’d done countless times.

Hosting lunch or dinner parties always included planning. For a book tour, I would need to establish an event menu at least six months before publication. But what was one presenter now claiming? A presales tour could be critical, especially for new authors?

“You have to go beyond the traditional author tour,” he added, “to connect with booksellers and persuade local businesses to host readings or sponsor off-hours literary events.”

Yet the new author would probably have to fund such nontraditional endeavors.

“For traditional post-publication marketing,” a panelist suggested, “new authors can tour as a group to enhance visibility. And those pursuing the elusive 18-35 year-old reader should consider conducting events in bars.”

“Whatever the itinerary,” another said, “authors should post schedules on their websites--take responsibility and market themselves.”

The purpose of a tour was to connect with readers and the press. No news there. Yet I wasn’t a name brand and my funds were limited. Even on a group tour, how would I draw a crowd? My book marketing appetizers, like tasty tidbits, would have to reach out and hook someone.

The panel described various tactics they’d used. One man had promoted “The Cake Mix Doctor” by dressing up as a physician for a skit. Bookstore personnel had pretended to listen to the heartbeat of a cake. This bookstore held zany events on a regular schedule drawing community attention.

“Independent book stores often do more to support new author events,” one presenter said. “But, if you walk in talking about your chain store schedule or Amazon.com, why should we go out of our way to help?”

A good point. I jotted more notes.

The main course of author events would include delivering a performance. When my opportunity came, I would make use of slides or PowerPoint. Hold question and answer sessions. Whatever I did best should be done.

“Keep actual reading to a minimum,” a panelist said. “Know how to use a mike.”

Desserts usually concluded a party meal. I would serve refreshments at my readings. But panelists had suggested community involvement. Donated candles or chocolates from local merchants would make great door prizes to finish my events. Special recognition--local coupons--might be in order for those event attendees who brought friends.

“Publishers have been doing book tours wrong, too,” a panelist said. “Success shouldn’t be measured by nose counts or units sold at readings, but by total sales over the longer run.”

Yes, parties usually ended with cleanup and proper evaluation of success. A book event should, too. A good tour could improve paperback sales later, even if people didn’t buy the hardcover at the reading. I’d have to keep that in mind when my book sold to a publisher.

Yet so much of the book business was beyond the ordinary author’s control. How could any of us ensure success? Take responsibility--that’s what one panelist had advised. I vowed to protect my novel from the “sad warehouse” as best I could.