In an era where traditional media like TV and radio once reigned supreme for authors seeking to share their stories, a quiet revolution has taken hold: the rise of podcast guesting. This shift isn’t just a trend. It’s a game-changer for connecting with readers in a meaningful way.
In our modern age, is the podcast mic mightier than the screen?
Veteran author Mary DeMuth says it is. She has authored nearly 40 books, including the critically acclaimed We Too (affiliate link). She’s also a podcaster with over half a million downloads.
What does it mean to be a guest on a podcast?
Thomas: What does it mean to guest on a podcast? Why is that even a good idea?
Mary: I’ve been in this business a long time, and back in the old days, getting your message out to a wider audience usually meant working with a PR person who would book you on TV and radio. Outside of that, you might go on a blog tour, but those were really the main options, aside from writing an incredible book and hoping word of mouth would spread.
During that time, I discovered that while being on TV was fun, it rarely moved the needle in terms of results. Of course, there are certain situations where TV or large media platforms can be helpful, but generally, the medium that proved more effective back then was radio. We had to learn all kinds of strategies to drive listeners to visit your website while you were on the air.
But in the past few years, I’ve noticed a major shift. Podcast audiences are the people who actually buy books. Podcasts give listeners the chance to have an in-depth conversation with a host, author, or expert. Guesting on podcasts has become one of my favorite strategies for selling books.
I love the niche audiences. They’re specific, engaged, and genuinely interested in the topics discussed. There’s also a real need in those spaces for authenticity and vulnerability. When authors show up authentically and share their stories in a genuine way, that intersection creates a sweet spot for connecting with listeners and truly helping people.
I’ve also seen direct results from guesting on podcasts. For example, after being on a large show, I noticed that within just a few hours, a couple hundred people followed me on Instagram. It’s exciting to see how powerful podcast interviews can be for sharing your message and growing your audience in real and meaningful ways.
Thomas: Did you get hundreds of new subscribers after being on CNN?
Mary: No, not at all.
Thomas: Many authors believe that if they could just get on TV, it would drive huge book sales. But these days, the kind of people watching live television aren’t necessarily the same people who read books. That’s not to say that none of them do, but the reality is that not every American reads books.
Meanwhile, the kind of person who chooses to spend 30 minutes listening to people discuss a topic on a podcast is usually the same kind of person who has the patience and intellectual curiosity to read a book.
Podcast listeners are what we’d call a target-rich environment.
In my experience, podcast audiences are also the most eager for audiobooks. If you’re planning to use a podcast tour strategy, having your book available in audio is important. A certain percentage of podcast listeners will only read a book if it’s an audiobook.
If your book is only available as an e-book or paperback, many of us simply won’t read it.
In fact, there’s a book I was really excited about recently. I bought it, but because it wasn’t available in audio, it’s been sitting mostly unread. I’ve tried multiple times to get through it, but it’s a thick book, and I haven’t finished it. Once it’s released as an audiobook, I’ll probably have it finished in a few days.
Of course, many readers still prefer paperbacks or e-books, but often, they’ll only discover your book because they heard you on a podcast.
How did you get started guesting on podcasts?
Thomas: How did you make that transition from radio and TV to podcasting?
Mary: I’m mostly a traditionally published author. A couple of years ago, I started getting contacted by PR people about whatever book I had coming out. Even then, I instinctively believed that being on podcasts would really matter.
I started looking around and making a list of the podcasts I wanted to be on, and I began doing some research. I’m also a podcast listener myself, so that helped me identify shows that felt like a good fit.
More recently, I used your Podcast Host Directory to help me connect with hosts about getting on their show. I’ve had PR folks handle some of that outreach for me, but I’ve also done a lot of it myself.
It takes spreadsheet skills, tenacity, and relationship-building, but it’s been worth it. In the past two or three years, I’ve been a guest on probably 70 podcasts.
Thomas: That’s a lot of audiences you’re reaching. Each podcast has its own unique bubble of listeners. There’s some overlap, but even when there is, a listener who’s now heard you on multiple podcasts has had your voice in their head for an hour or more.
That creates a lot of influence and connection. If you did a good job during the interview, they’re much more likely to buy your book because they feel like they know you.
I’d imagine that after a few dozen interviews, you’ve really got the process down.
How did you plan your podcast tour?
Thomas: What you’re describing is setting up a podcast tour, similar to how authors set up book tours. What’s it like to plan and run a podcast tour? What has your experience been, both when a PR firm handled the tour for you and when you managed it yourself?
Mary: This most recent podcast tour was more of a hybrid approach. I did a lot of the research myself, finding potential shows and sending those contacts to my PR team. Honestly, it looks more professional when a well-respected media firm reaches out to a podcast rather than me approaching them as a random guest.
The hybrid approach felt like the best of both worlds. I was able to target the podcasts I wanted while my PR team used their name and reputation to make the connection and handle all the logistics. Thankfully, my PR firm also has access to my Calendly and Google Calendar, so everything ran smoothly.
I think we’ve done around 30 or 40 different interviews for my most recent book, and it’s been very successful.
One thing I’ve learned is not to stay too comfortable in your niche. It’s important to think outside the box. I’ve been on a wide range of podcasts, from far-left to far-right leaning, and that’s been both surprising and rewarding.
It’s allowed me to reach audiences I wouldn’t have connected with otherwise. As someone who tends to be pretty centrist, it’s helped me sharpen my message and learn how to communicate effectively in both friendly and more challenging environments.
Thomas: Podcasts are not gotcha journalism. There’s a kind of courtship that happens before the interview ever takes place—an exchange of emails, getting to know each other, checking each other out. By the time the interview happens, there’s usually a level of mutual respect already established.
I would venture to guess that almost all the 70 interviews you’ve done have been cordial. It’s not like someone suddenly says, “How dare you!” Generally speaking, people don’t invite their enemies onto their podcasts. And if they do, you know that going in.
I was once on a podcast where the host invited me and someone who disagreed with me to have a debate. It was not a formal debate with stopwatches, but it was an honest, hour-and-a-half discussion where we explored a topic we fundamentally disagreed on.
What struck me was how respectful it was. We didn’t interrupt each other. We listened, found some areas where we agreed, and acknowledged where we didn’t. But in my experience, that kind of debate is much less common in podcasting. Most interviews lean toward thoughtful, respectful conversations rather than confrontation.
What is Calendly, and how do you use it?
Mary: Calendly is an online scheduling tool that makes setting appointments simple. You share your unique Calendly link, and people can book a time with you based on your available time slots.
It completely removes the usual headache of scheduling. There’s no more endless back-and-forth like, “Can you do Thursday at 3?” “No, I have a vet appointment.” “How about Friday at 2?” “That doesn’t work either.” “Okay, maybe 40 days from now at 4?”
Calendly shows exactly when you’re available, and if something changes, you can easily update your availability. It eliminates all that scheduling stress, especially when booking podcast interviews.
Thomas: With Calendly, you can share the same scheduling link with ten different podcasts, and once the first podcast picks a time, that time is automatically blocked off for everyone else.
That solves one of the biggest challenges. Scheduling isn’t just about figuring out if you’re free on Tuesday. The real problem is that when you told someone you were free on Tuesday, you were, but by the time they responded, someone else may have booked that slot. It turns into chaos.
The temptation is to think you need to hire an assistant to handle it for you. You could hire an assistant, or you could use this free tool.
I’m such a big fan of Calendly. I’ve set it up with the paid version, which allows me to create multiple calendars. I have one for coffee meetings, one for lunch, one for consultations, and separate calendars for my own podcasts and for when I’m a guest on other shows.
Each calendar has different rules. For example, one of my calendars is set, so it never books anything on Fridays. But all of them sync with my main calendar. If I add a meeting to my schedule, Calendly will see that and automatically block off that time across all my different links.
It’s seamless and saves so much time and hassle.
How do you prepare for podcast interviews?
Mary: If it’s a podcast I’m already familiar with, I don’t do a lot of prep. If it’s a show I’ve listened to often, I know exactly what to expect.
But if it’s a new podcast, I’ll usually listen to an episode beforehand. I also check out their website and look at their level of interaction. If they’re on iTunes, I’ll see how many reviews they have. That’s something I recommend doing before you book because you don’t want to spread yourself too thin by going on every random podcast that has four listeners. You want to make sure they have an actual audience.
I’ll also provide a press release or media kit if they ask, either directly or through my publicist. That usually includes sample questions, so I have a good sense of what we’ll be talking about. Sometimes the host will send their own list of questions, which is really helpful. I always go through those before the interview.
I make sure they have all the right links and connection options, whether that’s Skype, Zencastr, or my phone. I like to give them a variety of ways to connect, and I think that’s helpful for making the interview process smooth.
Thomas: Listening to the show is probably the most important preparation you can do before a podcast interview. If you’ve never listened to the show, it’s easy to get blindsided. I learned this the hard way. I was a guest on a podcast that had a recurring segment where they asked every guest, “Imagine yourself on your deathbed. What advice would you give your younger self?”
It was a regular part of their show, but I had no idea it was coming. I was completely blindsided and had to scramble to come up with something on the spot. I remember thinking, “I really should have listened to the show ahead of time. I should’ve known what advice I wanted to give.”
Many podcasts have recurring segments like that, and if you take time to listen beforehand, you’ll know what to expect. You’ll also get a feel for the tone of the show, the style of questions, and the pacing.
Some shows will share their questions with you ahead of time, but others won’t. As a host myself, I’ve gone back and forth on this. I used to always send guests a list of questions, but I found it sometimes made the conversation feel too scripted or stiff, and it was harder to change direction naturally.
Lately, I’ve been experimenting with not sending questions or sending only one key question. If I send one question, it might be tied to something specific, like “Share the five tips from this chapter of your book.” I don’t want to surprise a guest with a question they can’t answer because they’ve written a dozen books and forgotten the exact list from one chapter.
But for most interviews, we just jump in.
As you do more interviews, you learn to be ready for both situations, whether the host shares the questions in advance or not.
How can an author be a good podcast guest?
Thomas: What advice do you have for somebody who’s going into their first or second interview?
Mary: Remind yourself that it’s just a conversation. Don’t overthink it. Take a deep breath and remember, it’s not about performing; it’s about interacting. Just be yourself.
Personally, I don’t enjoy listening to podcasts where people sound fake or like they’re reading. It’s fine to read an introduction or certain parts, but overall, authenticity is important, especially for authors.
I’d also recommend re-familiarizing yourself with your book. I’ve had moments where I forgot the questions from my own press release. I knew they were there, but during the interview, the host asked, “There are seven misunderstandings the Church has about sexual abuse. Can you talk about number seven?”
And in that moment, I completely blanked. I’m flipping through my book, trying to sound calm and collected, stalling and saying, “Well, let me see here…” So now, I make it a point to walk through my book and skim it before the interview starts, just to refresh my memory.
This particular book is my 39th. I don’t have every page memorized, and sometimes, I need a reminder of what I wrote. I always keep my book nearby during interviews.
When I first started doing radio interviews, I created a system that worked well. I printed all the press release questions and typed out my answers. Then, I organized everything in a three-ring binder. During interviews, I had it right there as a reference.
I didn’t read from it word-for-word, but having those answers ready gave me confidence. I was new and nervous back then, but that binder helped me feel prepared and comfortable behind the mic.
Thomas: I’ve found that the more interviews you do, the easier it gets to slack off on preparation. You start thinking, “This is my millionth interview. I’ve got this.”
I recently made that mistake. I was a guest on a podcast and honestly, I hadn’t fully prepared. I listened to part of an episode, but I didn’t listen to the whole thing. As the interview progressed, I could really feel that lack of preparation. I had no idea what direction the questions might come from, and I kept thinking, “Please don’t let there be some deathbed confessional segment I don’t know about.”
It made me realize how important it is to have a checklist or routine you follow every time. I love the idea of putting together a binder, doing the prep once, and being able to reference it anytime you need it.
I usually have a document open on my screen during the interview where I can jot down thoughts or notes as we talk. But I also always include the name of the show and the host’s name at the top of that document because I’m terrible with names.
One of my biggest fears is getting the host’s name wrong during the interview. It’s like that rockstar moment where you shout, “Hello, Seattle!” but you’re really in Portland. That fear of saying the wrong name sticks with me, so I write it down right in front of me.
What do you do after the interview?
Thomas: Are there tasks you do in terms of follow-up or promoting the podcast?
Mary: If I were scheduling the podcast tour on my own, I would definitely send a follow-up email afterward, thanking the host for the interview and letting them know I appreciated it. I’d also ask how I could help promote the episode.
Thankfully, my publicist handles that part for me now, so it’s one less thing I have to worry about. What usually happens next is that either the host or my publicist will reach out and say, “Hey, the episode is going live on Thursday. Here’s the link and the artwork.”
When that happens, I try to promote the episode on at least one of my channels because I truly believe it’s important. The host has done so much work to have me on, and they’ve blessed me by sharing their platform. Promoting the episode is my way of choosing to bless them in return by sharing it with my audience.
Thomas: I think that’s part of why podcasts have guests—they’re hoping the guest will help expand the audience and add credibility to the show. So it’s always a good idea to say something positive about the show while you’re on, or at the very least, avoid insulting it.
Saying something like, “This podcast is terrible,” is a huge mistake. You know who disagrees with that? Everyone listening. No one is forced to listen to a podcast, so it’s safe to assume that everyone tuning in is already a fan of the show.
What advice do you have for somebody who wants to start a podcast tour but isn’t sure where to start?
Mary: The first thing I’d say is they should become a Patreon of Novel Marketing so they can access the tools you provide. You have a fantastic Patron toolbox for authors!
After my publicist had already used most of their clout and connections, I started doing more research on my own. I used your Podcast Host Directory tool and was able to easily send my publicist the podcast name, the host, and how to connect with them.
Honestly, I just love that tool.
Thomas: The Podcast Host Directory is really unique. I sat down with a PR person, and she said, “This has email addresses of podcasters that I can’t find anywhere else.” There are PR tools out there that cost over $10,000, and even those don’t have what the Podcast Host Directory offers.
Access is only for Novel Marketing Patrons.
It is so powerful because the Podcast Host Directory gives you email addresses for over 100,000 podcasters. You just type in the podcast name or search by topic. For example, if your book is about golfing, you search for “golf” and instantly see dozens of golf-related podcasts, plus their websites and email addresses. You can then contact them directly.
What you do with that pitch is a topic I cover in my course, How to Get Booked as a Podcast Guest, but at least you’ll have the right contact information.
The directory doesn’t and won’t have a CSV export feature. That’s intentional. I really believe these should be personal, individual emails of one guest pitch to one podcast host at a time. You should not carpet-bomb a whole podcast category.
As a podcast host myself, I get those mass emails, and I don’t like them.
Mary: I used to have an interview podcast, and I have never once booked a guest from an impersonal blanket pitch. The email goes right to trash.
What mistakes can podcast guests avoid?
Mary: One of the reasons I stopped doing the interview show was because, for two or three years, I was personally vetting every guest and their story. Early on, I knew everyone who came on the podcast, but toward the end, I had to start trusting people about their stories because I didn’t know them personally.
There were a couple of guests who just didn’t get it. I told them it was a podcast about telling their stories, and I don’t know how I could’ve said it more clearly. But once the interview started, they gave me four-word answers to every question.
Some of those interviews were so uninteresting that I couldn’t air them. I didn’t tell the guests that directly, but I did say, “I’m not able to use this interview.”
It was frustrating because they hadn’t listened to the show or understood the format. They didn’t realize it wasn’t about delivering pithy sayings or clever one-liners; it was about telling a story and finding the lessons within it. It wasn’t about being didactic.
There were also times when I felt used by authors who clearly just wanted to be on the podcast to talk about their book. They weren’t willing to dive deep, have a real conversation, or share their personal story.
Of course, I’m happy to talk about someone’s book at the end, but I don’t want the self-centered, “me, my book, me, my book” kind of guest. That’s the kind of person you’d avoid at a party, and I don’t want them on my podcast.
Thomas: Recently, on my other podcast, I had to scrap an interview because the guest spent the entire time just promoting their stuff. I’d ask a question, and their answer would be something like, “Well, to find out the answer to that, you’ll have to buy my $2,000 course or come to my conference.”
I’m sitting there thinking, “That doesn’t work.” I told them, “I’ll give you a chance at the end to tell us about what you’re offering, but during the interview, you have to provide value.”
It’s not just about being kind or generous; it’s also about building trust. A listener who’s just meeting you for the first time on a podcast isn’t going to immediately buy what you’re selling. They’re not ready for that level of commitment. It’s like proposing marriage on a first date.
You really have to approach podcast interviews with a servant’s mindset and understand what the podcast is looking for. Not every podcast wants long stories. What you were looking for on your show was unique, and if those guests had just listened to an episode, they would’ve realized, “Oh wow, Mary lets people talk for ten minutes without interrupting.”
When I was a guest on your podcast, you let me go, and I remember thinking, “Wow, this is really different.” But I knew that was the expectation and that you wanted me to tell a full story. That allowed me to share it in a much bigger arc than I would have on other shows.
There are podcasts where the host wants something faster, so I adapt. I trim the story, cut the details, and get straight to the heart of it. That same story has a one-sentence version, a one-paragraph version, and a ten-minute version.
Knowing which version to tell makes a huge difference. It helps you fit the show’s style and meet the listeners’ expectations.
The listeners are tuning in because they like the way the show typically runs. If they’ve listened to 50 episodes where guests share long, detailed stories, and then suddenly there’s one guest giving one-word answers, it just doesn’t work.
If you had aired that episode, your listeners wouldn’t have liked it. And honestly, they wouldn’t have liked the guest either because it violated their expectations in a way that felt off.
What other tools do you use to make podcast tours easier?
Mary: I use Calendly, my Google Calendar, and an overarching calendar to keep everything organized. But I’m also a paper person, so I write everything down in my weekly Moleskine. I like being able to physically cross things off. It gives me a sense of satisfaction I just don’t get from checking something off in Google Calendar. It’s a bit redundant, but it works for me.
I also have to be mindful of my own limitations. For example, I have two or three interviews scheduled back-to-back. I don’t normally do that because my energy tends to wane. I’ve learned that when I’m giving out that much, it’s like a speaking engagement.
With my book We Too, where I’m talking about sexual abuse in the Church, it’s not a light conversation. I have to be intentional about giving myself space between those interviews to recover.
Of course, I understand that during the launch window, especially in that first month, there’s going to be a lot of back-to-back interviews. But if I can educate my PR person to build in some breathing room, it makes a big difference.
Tell us about your book, We Too.
Mary: My book is called We Too: How the Church Can Respond Redemptively to the Sexual Abuse Crisis (affiliate link). It offers a prophetic imagination for how the Church could be and how things should be. It also helps us see where we are right now in terms of storytelling and how we talk about sexual abuse, even from the front of the Church.
The book looks honestly at what has gone wrong and asks how things can be better for those who have been broken by this issue. How can church leaders rise up and choose a different path instead of continuing with the status quo?
Ultimately, it’s a wake-up call, but it’s not anti-church. It’s pro-church and pro-victim, which is a difficult and delicate balance to maintain. On one hand, you have these terrible stories of pain. On the other, you have the structure of an institution that doesn’t move quickly and resists change. The book tries to stand right in that tension.
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