Publicity has always been important for authors. Mark Twain promoted his books by writing letters to the paper, and even Agatha Christie, historically known for being very private, still did interviews with prominent newspapers. Yet some authors think this kind of publicity is old-fashioned.
In a world dominated by social media, do we even need traditional PR anymore? Who still reads the newspaper?
The reality is that traditional media is more important for authors than ever before. Why? I can answer in two words: artificial intelligence.
Large language models like ChatGPT and Gemini define truth based on what legacy media reports. If the legacy media hasn’t said anything about you or your book, these AI models assume it must not be important.
Traditional media also determines what ends up on Wikipedia, which is a synthesis of media coverage. Everything on Wikipedia is cited, and it cites traditional media sources. If you want to be notable enough to have your own Wikipedia page, traditional media outlets must first consider you notable enough to cover.
It’s not just for AI recognition. It’s also about getting real readers excited.
So, how do you get traditional media to talk about you and your book?
We’ve talked before about how to do your own PR. In this episode, we’re focusing on working with a PR firm. Our guest is veteran publicist and co-founder of PR by the Book, Marika Flatt.
What is the difference between PR and marketing?
Marika: PR is known as earned media, whereas marketing typically refers to paid media. At PR by the Book, we’re focused on publicity and promotion. No money exchanged between the author and the media outlet. We’re building relationships with the media and pitching ideas they don’t want to say no to. That could mean scheduling interviews, sending out review copies, or working with influencers.
Thomas: The advantage of earned media is that it has much higher credibility. Readers trust what a journalist says about your book far more than they trust your ads. The downside is that you have less control. Interviews can be unpredictable, and reviews might not always be positive.
Also, while journalists aren’t paid directly, PR isn’t free. If you’re doing it yourself, it takes time. If you hire a PR firm, you’re paying for their time and expertise. Both marketing and PR cost in different ways.
What do PR firms do for authors?
Thomas: One valuable service PR firms offer is media training. You don’t want to just throw someone in front of a camera without preparation.
Marika: Back in the day, we did face-to-face media training here in Austin. I’ve just hit my 28-year anniversary in book publicity. Today, we’ve adapted that into a new media training resource we give authors as a welcome gift. Our director of publicity and I created this training to help authors prepare for print, radio, TV, or podcasts.
We want authors to feel confident, and the best way to do that is with practice. It might be cliché, but it’s true that practice makes perfect. Or at least, it makes you comfortable. We help authors hone their messaging, master their sound bites, and feel at ease being conversational with a host. That way, they’re more likely to be invited back.
What makes a book a good fit for PR?
Thomas: Not every book is a good PR fit. Some authors don’t know how to make their book interesting to talk about. You might have written a dictionary, and while it may have sold well, it’s still hard to get PR for it unless there’s a unique angle that’s spicy, controversial, or timely.
How can authors figure out if PR is the right fit for their book?
Marika: When we do a discovery call with an author, I’ve already prepped by reading about their book and understanding their goals. That conversation is key for determining whether their book is media-worthy.
One of my favorite tools is the timely tie-in. If we can connect a book to something happening right now, media outlets are much more interested. For example, if next month is “Happiness Happens Month” and your book is about creating joy, that’s a strong tie-in. It gives the media a reason to feature your book.
Part of the research we do when we create a proposal for a client is looking for as many timely connections as possible.
What if the book is fiction?
Marika: If it’s fiction, we dig into the backstory and why the author wrote it, or what inspired it. Sometimes we find relevant news hooks. Nonfiction is easier, but fiction can still work with a little creativity.
Thomas: That’s called newsjacking. When I hosted a radio show in Austin, Hurricane Harvey hit while I was on air. My programming was wall-to-wall hurricane coverage. If someone pitched me a guest whose book tied into natural disasters or trauma recovery, they had a good shot of getting on. But if they had pitched me three weeks later, it would have been too late. The media had moved on.
It’s like hunting. You wait, and then you have to act fast when the opportunity arises. If you’re prepared, it’s much easier to take advantage of a timely tie-in or newsjacking moment.
What makes a good publicist?
Marika: A good publicist is creative and positive. If they’re always glass-half-empty, they’re going to struggle. I’ve always had a media mindset. I initially wanted to go into TV, and I still think like a journalist. I also serve as editor for a Texas-based magazine, so I understand both sides.
Even when I read a book for fun on vacation, I think, “How could I publicize this?”
Thomas: That mindset is important. Journalists love controversy. Mark Twain wasn’t just writing letters; he was intentionally stirring controversy. Huckleberry Finn was banned in public libraries, and that helped it sell 25,000 copies. Controversy has always been a powerful tool.
Of course, not every author wants to court controversy. Some genre fiction authors do a great job by running ads and publishing regularly. They don’t do any PR, and that’s okay.
If controversy isn’t your style, that might not be your strategy. But it’s the easiest PR strategy. The next easiest is newsjacking. And the hardest is the puff piece interview: “What inspired you to write your book?” Unless you’re already a bestseller, it’s hard to land that kind of interview.
What if the author doesn’t want to be controversial?
Marika: I have a client right now, and when I brought them on, I just knew we were going to have so many “news of the day” opportunities and possibly even controversial ones. But the client does not want to go there at all, and we have to respect that.
They have their reasons for not engaging with current events around this topic. As a publicist, I want to take advantage of those opportunities. Every morning, I sit there drinking my coffee and reading the news. I see stories popping up, and I want so badly to use them. But I can’t.
It happens. Some authors just don’t want to go down a controversial route.
Thomas: Plus, following the news every day is emotionally and psychologically draining. That’s another cost of doing PR. If you’re going to do it right, you have to stay informed.
Some people take the approach that if something’s important enough, someone will text them or they’ll see it on Facebook. If that’s your relationship with the news, you’re not going to be able to use the newsjacking technique effectively. You may also not be fluent enough in the media to give a good interview.
You need to be a consumer of the news.
I co-host another podcast, Author Update, where we cover publishing news each week. It’s forced me to look the news straight in the face. Psychologically, it’s work.
How can authors stay informed without being overwhelmed?
Marika: After all these years in publicity, I’ve learned how to manage my news intake. Every morning, I read two news aggregators. They’re non-political and non-opinionated. They just report the headlines for the day. I like how they’re formatted, and I can click to go deeper if I want to.
But I have a little self-preservation strategy. I can’t watch TV news at night before bed. You really have to find a system that works for you, so you’re not always carrying around emotional baggage from the news.
I get in, I get out, I know what’s going on. Then I’ll send our team ideas and say, “Hey, this might be good for so-and-so,” or “Can we tie this story in with this author?”
Thomas: After doing this for so long, you start to see the news in terms of overarching narratives. Most daily news stories are just updates on ongoing situations. There’s a war in some country, and the update is that more people are dead. The news presents it like it’s brand new, but it’s not. It’s just the latest development in a longer story.
You gain some detachment when you realize that. You stop seeing everything as a fresh punch to the face.
What is “trading up the chain,” and why does it matter?
Thomas: Another valuable strategy is “trading up the chain.” That means starting with smaller, more obscure media outlets to build confidence and hone your message.
Practicing with your PR firm is one thing. You get some coaching and do a mock interview. But your first real interview, the one that goes live and stays on the internet forever, is totally different. You don’t want that interview to be on Fox News or CNN. Those outlets are too big for beginners. You want to be interviewed on a smaller outlet where the stakes are lower.
You don’t want your first podcast interview to be on The Joe Rogan Experience.
Marika: I’m so glad you brought this up. I talk about this all the time on discovery calls with authors. They might have a fantastic book and great communication skills, but they don’t have name recognition or a large platform.
So we have to start somewhere, so we start small and local. That helps in two ways. First, it gives the author practice. Second, media breeds media. If I can showcase a great local TV interview from the Austin market, I can use that to pitch a bigger outlet, like Good Morning America. It helps to show that they held their own in a previous appearance.
Authors need to go into their publicity campaigns with realistic expectations. You have to pay your dues on the smaller media channels.
Thomas: If your PR firm books you on “Podunk Radio” at 5 a.m., they’re doing you a favor. You didn’t hire them just to get you on Good Morning America. You have to earn that, and if you don’t earn it, it can be a disaster.
I have a very successful friend who was interviewed on Fox News due to his job. It was a timely story, but he had no energy or screen presence. His answers were short, accurate, and boring. I felt bad for him and the journalist.
No journalist wants to be in that situation. They want guests who are fluent in media, who can speak well, be interesting, and know when to stop talking. These are skills that come from practice.
If my friend had started small, doing local interviews or podcasts, he could have performed better on Fox News. That one big opportunity could have led to future opportunities if he’d had some practice.
Thomas: My radio show didn’t start as a full show. I was first brought on as a guest. Then I became a recurring guest. Eventually, they asked me to guest-host. Finally, they gave me the show.
You may not want to host a radio or TV show, but that slow, steady path still applies. If you want to get on Good Morning America or The Joe Rogan Experience, the same principle applies. Be faithful in the small things.
Marika: The more you repeat your talking points and tell your stories, the more comfortable you become. You learn which stories resonate, how long they go, and how to adjust based on the host’s reaction.
That’s all valuable intel when you’re in those early interviews, building your confidence and testing your message.
Thomas: Especially for TV, brevity matters. Podcasts allow more flexibility. Learning how each format works is crucial.
The first time I give a speech, it’s always 20 minutes too long. Over time, I learn how to trim and tighten the sentences. Those effective, pithy, soundbite-ready responses only come with repetition.
So get your practice in early. Don’t despise the day of small beginnings.
What mistakes do authors make during interviews?
Thomas: You’ve been doing this a long time, and I’m sure you’ve cringed watching interviews with your clients. What are some common things authors get wrong in interviews?
Marika: I cringe the most when I’m watching a television interview. I grew up in the world of TV, and I know what it takes to deliver an impactful short interview.
Low Energy
One mistake I see is low energy. I’ve seen authors leaning back on the couch, looking like they’d rather be anywhere else. That makes me cringe. I teach our authors that they need to be enthusiastic about their topic, engaged with the host, and present in the moment.
I’ve also been a podcast guest where the host seemed checked out. So it goes both ways—whether you’re the host or the guest, engagement is key.
Too Much (or Too Little) Talking
Another common issue is authors who don’t know when to stop talking. I remember one interview about six months ago where one of our very verbose clients just wouldn’t take a breath. The host couldn’t get another question in. It was painful to listen to.
On the flip side, some authors don’t say enough, leaving too much dead air. That’s equally problematic.
Thomas: You can definitely reuse anecdotes across multiple interviews. As you gain experience, you’ll develop more effective ways of framing your stories.
Not Taking Cues
Thomas: One thing to understand, especially in radio, is that there are soft breaks and hard breaks. A soft break is flexible because the producer decides when to go to commercials. But a hard break, often at the top of the hour, is non-negotiable. That’s when stations cut to traffic, weather, or syndicated news, which are sometimes piped in via satellite.
If you don’t stop talking in time, the producer will mute you. First, they might start fading in music. If you hear music start playing, stop talking immediately.
Marika: It’s just like an award show when they start playing music to get you off the stage!
Thomas: A successful interview isn’t one where you say everything you wanted to say. It’s one where you had such a good interaction with the host that they want to have you back.
This is especially true on podcasts and YouTube shows. The Joe Rogan Experience has a rotating cast of about a hundred regular guests. He’ll bring on a celebrity occasionally, but many of his episodes feature returning guests like Jordan Peterson.
Peterson is a “friend of the show.” His episodes are popular, and he often comes on when he has something new to announce, like the Peterson Academy. A platform with an audience of 20 million listeners is a huge asset.
Becoming a friend of the show makes Peterson’s future PR easier. When you email and say, “I’ve got a book launching in August,” that host is more likely to say yes.
Does online engagement or traditional TV ratings matter more?
Marika: A couple of months ago, I moderated a media panel for Women Communicators of Austin, which is an organization I love. One of the panelists was a TV news host from a local Austin station.
I was surprised when she said that their station doesn’t care as much about live viewership numbers anymore. The digital engagement metrics—how many people watch the segment online in the days that follow—matter more.
If you’re on the midday news, don’t worry about how many people are watching live. The bigger question is, “How many people will watch that segment later on Facebook or YouTube?”
It used to be all about viewers. Now, media outlets are constantly seeking to expand their reach beyond their immediate broadcast audience. That changes how they measure success.
At PR by the Book, we’ve been doing this for 22 and a half years. We work hard to stay ahead of the curve. We can’t do publicity the way we did five years ago. Things like blog tours evolved into virtual book tours, and now we call it influencer outreach. It just keeps changing.
Are our media habits shifting?
Thomas: The reason it keeps changing is that people’s behavior keeps changing. We’re watching less traditional television than we used to. In fact, last month we hit a tipping point. For the first time, more hours of media were consumed via streaming than traditional TV.
We’re officially past the 50% mark. Broadcast towers (or terrestrial stations) have been overtaken by streaming.
The dirty little secret is that everything uses the same electromagnetic spectrum. But those terrestrial towers now get less attention than streaming platforms.
Marika: During the flooding in Texas, I spent that whole weekend watching live video on social media. I may have turned on the TV once.
I was watching Facebook Live and Instagram Live to stay updated. That’s how I got my news about the situation.
Thomas: During the July 4th floods in Austin, Texas, local stations were understaffed with their weekend holiday crews. Meanwhile, ordinary people were capturing amazing footage with their phones.
Most of the footage now circulating wasn’t filmed by news crews; it came from everyday people with iPhones.
Marika: I saw that a Houston TV station sent a young reporter who was clearly using her iPhone to video. She was holding it up, panning to show the flooding behind her. Their live segment was straight from her phone.
Thomas: I’ve noticed that too. Local news used to send a crew of two. Now, it’s often just one person who’s the on-camera talent and the cameraperson. Rarely will a news crew even come to your house. They expect you to use your own home studio setup with decent audio and video.
Most YouTube channels and podcasts record remotely. Very few bring guests to the studio. Most shows are using Zoom, Riverside, or something similar.
How can authors make life easier for media producers?
Marika: I recently spoke with a longtime TV producer who books me as a guest. Her station is hiring for a new position that combines producer and guest host. It’s two jobs rolled into one.
When we pitch the media, we have to remember they’re extremely busy. They don’t have time to slowly process a vague pitch or chase down missing materials, so we have to be concise. We need to deliver what they need on a silver platter. That means high-quality headshots, bios, media kits, sample questions, and everything they need to do their job well.
At PR by the Book, we take that seriously.
Why is responsiveness critical in PR?
Thomas: In the author world, deadlines are often flexible. If you’re late with your manuscript, your publisher will likely still publish the book later. They won’t be happy, and there might be financial consequences for you, but it’s not the end of the world.
In journalism, though, deadlines are real. If your segment is scheduled to go live at 6:12 p.m., everything must be ready by 6:12. If you respond at 6:30, it’s too late. The segment has already aired. That’s true for TV, radio, and newspapers. In those worlds, deadlines are not suggestions. They’re final.
While online articles can sometimes be updated, live media requires responsiveness. If you earn a reputation for being quick to respond, you can tap into something we haven’t talked about yet, which is emergency substitute bookings.
What’s an emergency substitute booking?
Thomas: Let’s say a guest was scheduled, but their internet went down due to flooding. The station needs someone who can go live in five minutes. If they call and ask, “Can you step in?” the right answer is, “Yes, I can.”
In high school I received political training, and I got quoted so often in our campus newspaper that the editors had to implement a rule: “You have to quote people other than Thomas.”
I had learned how to give journalists a usable, compelling quote.
Be responsive. Put a press kit page on your website. It doesn’t need to be in your main menu; you can bury it in the footer. On that page, be generous with your contact info. If you use Google Voice, make sure it forwards to your real phone. If you list an email address, monitor it. You can’t be responsive if you’re not reachable.
Marika: We have systems in place to ensure we’re responsive even during the holidays. Between Christmas, Hanukkah, and New Year’s, our phone and email systems are still monitored. If someone calls with an emergency need, we respond immediately.
That’s just part of being a publicist. I scratch my head when I hear about publicists who take three days to return a call. How are they still in business? At PR by the Book, we’re Johnny-on-the-spot with communication.
Thomas: That’s one of the perks of hiring a PR firm. You get a dedicated email address on your press kit that doesn’t go to you; it goes to someone who checks it regularly.
We’ve talked about journalists doing multiple jobs. But the ultimate example is influencers. TikTok creators, YouTubers who are booking, recording, and editing. They do everything themselves.
Often, top influencers have bigger audiences and more impact on buying decisions than traditional media. Shows like USA Today or Good Morning America don’t move books the way they used to. They’re still great opportunities, but an appearance on Good Morning America doesn’t usually get you into Amazon’s Top 100. However, an appearance on The Joe Rogan Experience can skyrocket your book to the top of the charts.
What is the role of influencers in modern PR?
Thomas: A lot of authors want influencers to talk about them, but they don’t want to be on TikTok or use social media. I’ve even discouraged many authors from using social media because the return on investment tends to be low.
However, having other people talk about you on social media is powerful.
How do you handle influencer marketing as a publicist?
Marika: Our digital team works closely with our publicity team. Here are a few things we do:
- Social media management: We offer content creation and scheduling for authors who don’t want to manage their own accounts.
- Influencer outreach: We’ve built relationships over time and know which influencers to approach for different types of books.
- NetGalley: We maintain a NetGalley account with slots for up to 10 books at a time. Influencers, bloggers, librarians, and book buyers all use it to discover titles and leave reviews.
Some authors are very particular about their voice on social media. If that’s the case, they’re often better off managing their platforms themselves. It can be tricky to have someone else write content “in your voice” if you’re deeply invested in how you communicate.
Are micro-influencers worth pursuing?
Marika: Absolutely. A lot of authors think they need to reach someone huge like Joe Rogan, but that’s not always the most effective strategy.
Sometimes, a micro-influencer with just 20,000 loyal followers in your genre is far more valuable. We refer to these creators as micro-influencers, and they can be highly effective when their audience matches your target reader.
For example, I recently spoke to an author with a pet-related book. An influencer with a small but dedicated following of pet lovers is going to be much more valuable than someone with a huge but general audience.
One of our clients was interviewed on Fox & Friends and also featured on a small niche blog. He sold more books from that blog feature than from national television.
We see stories like that all the time.
Thomas: Here’s an extreme example. Let’s say you have a product for NFL coaches, and there’s a podcast with only 50 downloads per episode, but 24 of those listeners are NFL head coaches. That show is gold for your product.
It’s not about numbers. It’s about relevance.
Many people who watch TV don’t read books. There’s only partial overlap between households with large bookshelves and households with giant TVs.
So when you’re considering media appearances, always ask whether the outlet is reaching your readers.
Is influencer marketing earned or paid media?
Thomas: Influencer marketing is that it kind of crosses the line between earned and paid media. A lot of influencer marketing is paid, but often for micro-influencers, you’re talking about $50 to $150.
It’s cheaper than regular advertising and often more effective. But it’s not the free interview you’d get on TV or a podcast.
Marika: We work with a lot of micro-influencers, especially on Bookstagram. These Bookstagrammers don’t charge because they genuinely love books. Their “payment” is a free physical copy of the book.
They’ll take a beautiful photo and use that in their post. That’s what they want, and they’re happy about it. You want influencers who are excited to receive the book, will actually read it, and won’t charge you beyond the free copy. We call those our media friends.
Thomas: That scales from people who are happy just to get a free book, to those who want a book and a bit of money, all the way up to the Kardashians, who reportedly charge $500,000 for a single Instagram post. I don’t recommend going that route. It’s not likely to pay for itself since their audience isn’t your audience.
As you go up the price scale, the number of influencers consolidates, and their audiences become less focused. They can charge more because they have millions of followers, but how many of those people are interested in your kind of fiction?
You may find that a micro-influencer who wants a free book—or a book plus $50—actually reaches as many readers in your genre as a big influencer. Plus, you’re not paying for the millions who will never read your book. So why waste money reaching people who aren’t a good fit?
Connect with Marika and PR by the Book
- PRbytheBook.com
- info@prbythebook.com
- DIY program: Author to Influencer
- We’re on all the major social platforms under PR by the Book, and we’re happy to talk to anyone who’s trying to figure out whether PR is the right fit for them.
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