Bloom Where You’re Planted

While clicking through television channels the other day, I came across the program of a motivational speaker, who was urging the members of his audience not to wait for tomorrow to make the changes they yearned for today. “Bloom where you’re planted,” he told them, explaining that rather than wait for their situations to be perfect (which may never happen), they should look for opportunities right now, in their immediate lives.

This is great advice for those of you who are thinking about book promotion, but aren’t sure about moving forward. Although the book you’ve just published have may not be as perfect as you'd like, or your platform may not be as developed as you want it to be, there are still opportunities out there. And the best way to take advantage of existing opportunities is to assess what you currently have to offer in the way of published writing, expertise, and experience, and then capitalize on those offerings.

An easy way to assess your current offering inventory is to do a quick platform analysis. So, grab a pen and a piece of paper and jot down your answers to the following questions:

▪ Who is the audience for my book?

▪ How can I reach them?

▪ What expertise or experience do I have that might translate into interesting topics for media interviews?

▪ What are my strengths as a speaker, and how can I capitalize on them?

▪ What are my weaknesses, and how can I overcome them?

▪ How much time am I willing to put into a book tour or promotional campaign?

▪ What am I willing to spend?

Once you know what you have to offer and how much you’re willing to do to promote your book, the planning and execution become much easier.

And, sure, we’d all like to have had more time to write a better book or develop a more interesting or experienced platform, but if a book is ready to be promoted, then the time to do it is now, wherever we’re planted.

So, go ahead -- bloom.

Ten Writers Who Became Famous After Their Deaths

Note: Many thanks for this guest post by Anne Miller, a print journalist from Houston Texas, who writes for Online Degree. You can find out more about Anne and Online Degree at www.onlinedegree.net. -PM

The old cliché states that artists and writers never achieve true fame or appreciation for their creative output until after their death. While the advent of bestselling authors who peddle their wares on television, radio, and other media outlets, the seductive cult of celebrity has begun trickling its way into the literary world at a much faster pace than yesteryear. But the following writers never had a chance to see the greater influence and love that their painstaking, passionate work earned due to dying before receiving recognition. Some, of course, never actively sought critical or academic renown for their novels, short stories, essays, or poems – though their intentions do not exclude them from proving the old adage true.

1. John Kennedy Toole

Following his disheartening 1969 suicide, John Kennedy Toole would go on to leave a permanent mark on the American literary landscape with his hilarious and heartbreaking A Confederacy of Dunces. His route towards history is indelibly marked by tragedy and well-known to anyone familiar with the brilliant novel and its lesser-known companion The Neon Bible. Toole’s mother Thelma brought the found manuscripts to Loyola University New Orleans professor Walker Percy in 1976. Initially skeptical of her claims that her son was a phenomenal writer, Percy found himself surprisingly bowled over by the grotesquely entertaining Ignatius Reilly and Toole’s pitch-perfect depiction of life in New Orleans and rallied to find a publisher for A Confederacy of Dunces. Louisiana State University agreed, and in 1980 Toole went on to win a posthumous Pulitzer Prize for the novel. Today, it remains a much-beloved work of American literature with a healthy and continuous following – studied frequently in high school and college-level English classes across the United States and subjected to many painstaking dissections by scholars and academics.

2. Franz Kafka

Today considered one of the quintessential existential (and, to a lesser extent, modernist) writers, many unfamiliar with Austrian writer Franz Kafka’s life will be shocked to discover that his intensive influence never coagulated until after his 1924 death from tuberculosis. Kafka actually spent much of his short life working in insurance and factories with the occasional dabbling in theatre. Most of his dark, deeply psychological short stories, novels, novellas, letters, and essays never saw publication in his lifetime – in fact, he ordered his contemporary Max Brod, the executor of his estate, to burn every manuscript without reading them. Obviously, Brod disobeyed these last requests. As a result, Kafka’s descriptive exploration of the more twisted, unknown corners of the human psyche entered into the literary canon. Loved and appreciated throughout the world, critics laud works such as The Metamorphosis, The Trial, and many, many others as some of the greatest literary contributions from the 20th century. They have gone on to heavily inspire not only other writers, but artists, musicians, and other creative types as well.

3. Henry Darger

A curious figure, Henry Darger enjoyed acclaim as an outsider artist and writer after Nathan and Kiyoko Lerner, his landlords, discovered the massive cache of pen and pencil drawings, watercolors, collages, and manuscripts he left behind. After moving into a Lincoln Park, Chicago apartment in 1930, he remained there until his death in 1973. Darger worked menial labor jobs in a hospital before retiring in 1963, and lived an exceptionally solitary existence revolving around attending mass and collecting discarded magazines, newspapers, and books that served as references for his art and inspirations for his stories. Growing up in a traumatic Catholic mission house after his mother’s death forced his being given up for adoption, Darger channeled many of the anxieties and frustrations he experienced into 3 gigantic literary works and a couple of smaller ones. The preservation of innocence and protection of abused children stood as the main themes of his entire creative output, with the seminal 15,145-page The Story of the Vivian Girls, in What is known as the Realms of the Unreal, of the Glandeco-Angelinnian War Storm, Caused by the Child Slave Rebellion as the most visible and popular example. He kept several diaries, some of them about the daily weather, and also penned The History of My Life (a 5,084-page autobiography) and the 10,000-page Crazy House.

4. Emily Dickinson

Like many beloved writers before her and many after, Emily Dickinson spent much of her adult life living like a hermit and was dismissed as a mere eccentric until shortly after her nephritis-related death in 1886. She attended Amherst Academy and studied literature, math, Latin, the sciences, and other disciplines and counted William Wordsworth and Ralph Waldo Emerson amongst her many influences. Keeping to herself, most of her family and peers knew her as a passionate gardener while in private she penned some most unorthodox poetry at the time. Only a small handful of her almost 1800 poems were published during her lifetime, and her sister Lavinia burned a few of her posthumous leavings upon request – mostly letters. However, Dickinson failed to leave behind instructions for some of her notebooks, and as a result her first volume of poetry hit the shelves in 1890 with the help of supporters Thomas Wentworth Higginson and Mabel Loomis Todd. Critics received it with a largely mixed response, though later scholars would come to heap praise upon her experimentations in slant rhyming and unconventional punctuation and capitalization.

5. Sylvia Plath

Sylvia Plath did, in fact, find a modicum of literary recognition in her lifetime before committing grisly suicide in 1963. In 1955, she even won the Glascock Prize for “Two Lovers and a Beachcomber by the Sea.” Following her graduation from Smith College, she guest edited at Mademoiselle magazine to much disappointment – an experience that inspired her celebrated semi-autobiographical novel The Bell Jar - and published the occasional poem in the Cambridge University newspaper Varsity. Plath struggled with mental illness all her life, finding solace in her confessional works that discussed her overwhelming emotions with raw, open honesty. However, this intimate peek into her tumultuous inner life gained far more momentum after her death, with 4 children’s books, 6 works of fictitious and nonfictitious prose (including diaries), and at least 7 volumes of poetry attributed to her name after 1963. Prior to that, she had released The Colossus and Other Poems to a small but largely positive critical base that would later come to prefer her posthumous works. She even won the first posthumous Pulitzer Prize for poetry for 1981’s The Collected Poems. It was the publication of The Bell Jar that fully solidified her place in the American literary pantheon, though. Written under the pen name “Victoria Lucas,” it had been accepted for publication and hit the shelves one month before Plath’s suicide – meaning she never had a chance to actually enjoy the subsequent adulation.

6. Jane Austen

Considering contemporary media’s nigh-obsession with all things Jane Austen – a disconcerting many of them jettisoning the truly biting Regency satire in favor of focusing on the more profitable romances – it comes a shock to many that she never garnered hefty amounts of popularity in her lifetime. Austen did, in fact, publish several of her most beloved novels (Sense and Sensibility in 1811, Pride and Prejudice in 1813, Mansfield Park in 1814, and Emma in 1815) prior to her 1817 death from a disputed disease. Many literary critics and intellectuals spoke well of her spunky parodies of English society, though others criticized the novels for their failure to adhere to Romantic and Victorian philosophies and literary protocol. While never huge, they enjoyed a steady stream of moderate success, and her comprehensive Juvenilia series sent her family rollicking with its cheeky, anarchic humor. In spite of all this, however, Austen remained almost an entire unknown entity until after her death…when her brother Henry revealed in the biographical notes of the posthumously published Northanger Abbey and Persuasion (both in 1817) that she spent her entire literary career writing anonymously.

7. James Agee

Known during his lifetime as a moderately successful literary critic and co-screenwriter for the classic films The African Queen in 1951 and The Night of the Hunter in 1955, James Agee’s alcoholism frequently prevented him from ever achieving fame equal to his talents. A lifelong writer, he wrote for Fortune, Life, The Nation, and Time (he also served as a movie critic for the latter 2), published a volume of poetry (Permit Me Voyage), and released a largely ignored novel (Let Us Now Praise Famous Men) prior to his death by heart attack in 1995. Agee’s most celebrated and studied work, the autobiographical novel A Death in the Family, saw publication 2 years later and earned him a posthumous Pulitzer Prize in fiction in 1958. Afterwards, interest in his oeuvre skyrocketed and eventually earned him a place as one of the most respected American writers of the 20th century.

8. Nathanael West

As with many who worked as screenwriters in the 1930’s, Nathanael West never enjoyed great success for his literary prowess. Prior to his fatal car accident in 1940, West released 12 screenplays (and 1 remaining unproduced), 2 short stories, and 4 novels all while participating in a few writers’ seminars with the likes of Dashiell Hammett and William Carlos Williams. Most of his works – including the celebrated Miss Lonelyhearts (1933) and The Day of the Locust (1939) – drew from his experiences in the tarnished, writhing underbelly of the supposedly glamorous and idealistic Hollywood. It took his sudden and unexpected death to launch any real interest in West’s output, and the 1957 re-release of his collected novels only solidified his popularity. To this day, many regard The Day of the Locust as the quintessential Hollywood satire, offering a portrait into the shady wheelings and dealings of producers, actors, and other movie professionals vying for stardom and glory.

9. Anne Frank

The tragic story of Annelies Frank needs very little introduction. Fans of history and literature alike need to read the young girl’s diary, which she kept from June 12, 1942 until three days her capture by the Nazis on August 4, 1944. Frank died in Bergen-Belsen Concentration Camp in 1945 at the age of 15 as one of the 6 million completely unnecessary Jewish murders during the Holocaust. Miep Gies, one of the women responsible for hiding Frank’s family from the Third Reich, handed her father Otto the famous account. He sought a publisher for it as a means of educating the populace on Hitler’s atrocities, and came to find a valuable ally in historian Annie Romein-Verschoor and her husband Jan Romein. The Diary of a Young Girl was first published in 1947 in The Netherlands, with much of Europe and the United States following shortly thereafter. Critics enjoyed the book as both a harrowing glimpse into life as a hated minority in Hitler’s Germany and as a well-written piece of literature in its own right. Though a teenager, Frank’s experiences granted her work a maturity beyond her years that paradoxically never tarnishes her childlike perceptions of the chaotic world. The result is an entirely necessary entry into the literary canon – a work that absolutely needs reading if humanity ever hopes to quell the possibility of another fascist genocide.

10. Theodore Winthrop

Better known as a Civil War soldier and one of the first Union fatalities, Theodore Winthrop made a name for himself as a Yale-educated lawyer and seasoned world traveler before enlisting in 1861. He published a few articles, short stories, sketches, and essays but garnered little attention beyond the popular, patriotic “Our March to Washington.” Only after his death at the Battle of Big Bethel shortly after entering the army did anyone pay much attention to Winthrop’s writings. His sister, Laura Winthrop Johnson, was responsible for compiling all of his poetry and prose for submission and an eventual collection. At least 5 of his novels hit the shelves posthumously, many of them drawing from his generous academic and travel experiences. However, it was his Cecil Dreeme that garnered the most attention. Challenging and progressive, he turned traditional perceptions of social, gender, and racial roles upside-down using New York University as his backdrop.

No matter their ideology, style, or motivations for writing in the first place, these talented men and women left their undisputed legacy on the literary scene only after passing on. They obtained the level of fame that inadequate, trend-chasing copycats or celebrity-worshipping predecessors and successors only dream about, molding and shaping the written word with oeuvres that far outlived the limitations of human flesh.

New Trend: Book Promotion Groups

Note: Following is a guest post written by U.S. Olympic sailor and author, Carol Newman Cronin. Carol's first novel,a YA historical called Oliver's Surprise: A Boy, A Schooner, and the Great Hurricane of 1938, was published by GemmaMedia, with a sequel coming soon. When Carol mentioned that she belongs to a book promotion group, I asked if she'd tell us a little about it works. You can find out more about Carol at www.livewirepress.com. -P.M.

The Literary Guerillas: Authors Tackle Promotion, Together

Last fall I got a long-awaited email from writer Roberta Gately: “I sold my book!” Her novel, Lipstick in Afghanistan, (which I’d edited, early on) will be published in October 2010.

We exchanged squeals of glee, and then she asked if she should hire her own publicist.

“Absolutely,” I replied. In this brave new world of publishing, authors are expected to help with marketing—not just retreat to their book-lined study. I specifically recommended Paula Margulies, www.paulamargulies.com, who’d done a great job scheduling signings and drumming up press for the second edition of Oliver’s Surprise.

But I couldn’t answer the rest of Roberta’s questions. And she couldn’t answer mine—questions too vague for an agent, too basic for a publicist, too business-oriented for a writer’s group. Finally, one of us dreamed out loud: Wouldn’t it be great to bounce ideas around with other authors struggling to make their books stand out?

A few days later, Roberta invited me to join her for coffee with Randy Susan Meyers, another debut author. I made the hour and a half drive to Boston and we met at a coffee shop near Randy’s house, planning to chat for an hour or so. All of us had braced for disappointment, like a three-way blind date.

There must’ve been something in the air that day (or an extra shot in our lattes). Two and a half hours later, Roberta looked at her watch and jumped up… she was late for an afternoon meeting, and we hadn’t yet solved all the problems of the publishing world! We agreed to meet again, as soon as possible.

That was the spark; within weeks Randy had fanned it into a blazing group of nine authors I’ve since nicknamed the Literary Guerillas. Three have been recently published, four will be published later in 2010, and two are agented and soon to be sold to a publisher. All of us have already “succeeded” by typical writer’s group standards; the focus of our meetings is book promotion.

We haven’t set too many rules, but the next author to “come out” has priority. In January we met five days before Randy’s very successful launch party for The Murderer’s Daughters. We critiqued the chapter she planned to read aloud, since that was her biggest concern. And we discussed which of several outfits she should wear. (I swear, our “token male” started it.) She later told us it was a great comfort to her at a very stressful time.

In March, Holly Lecraw takes center stage; her book The Swimming Pool, is due out April 6. Holly claims she’s much less prepared than Randy, but she’s already received some great reviews. I’m sure her coming out party will also be a success.

And with additional publishing debuts in May and October (and my sequel coming out in July), the LG’s will have plenty of things to talk about this year.

Best of all, when any one of us has a question, we know right where to go.

Are you involved in a writers’ group focused on publicity/promotion? If so, how is it structured?

Tricky Business

When I became a novel writer, I had no idea how time-consuming the act of creating a book would be. In addition to the uninterrupted blocks of time I needed to do the actual writing, I discovered that a fair amount of thinking time had to happen in order to get the story where I wanted it to go. For every hour spent putting actual words on the page, I found I needed an equal or better amount of time to conjure up the details necessary to create an imaginary world and people it with extraordinary characters. I needed to think about my storyline, to create a suspenseful and believable plot, to develop a sense of movement and structure, and to make sure that there were high stakes involved. I imagined my characters speaking, so I could recognize their voices; I visualized what their pasts might be, so I could construct their future actions.

Sometimes this thinking time was a conscious effort, where I pointedly outlined different scenarios for the story in my head; other times the thoughts cooked in my subconscious, bubbling up to my awareness at random moments to surprise me or, in many instances, provide a feeling of relief.

I learned that the time I spent thinking about my book was almost more consuming than the actual time I spent putting words on the page. And, frankly, this scared me a little, because as a working wife and mother, there are other people in the world who also needed me to be thinking about them.

All writers sacrifice in order to find time for their writing, and our family and friends and businesses bear the brunt of it. Not only are we physically unavailable while we’re holed up in our writing lairs, but we’re mentally absent, as well. Many of us find that when we’re writing, the stories we’re creating consume our consciousness. Though our bodies are present in the real world, our thoughts are somewhere else.

Unfortunately, the outside world doesn’t wait while we’re living in that creative state – our kids grow up, our parents age, our businesses succeed or fail, the world around us spins forward. We sacrifice our presence to our art, and the price can sometimes be steep.

For this reason, it’s important that we writers take the time to step back once in a while and evaluate whether our desire to tell the story inside us is stealing from other equally important aspects of our lives. Call it whatever you will -- a creative time out, perhaps – but every once in a while it behooves us to check in with those who love and need us. This, of course, is not a mandatory exercise and a lot of writers forego it by choice. But if we don’t balance the demands of the real world with our need to create, the things and people who mean so much to us can sometimes slip away.

It’s a tricky business, this writing thing we do.

My Response to Questions from an Author with a Backlisted Book

Happy New Year to all! I'm wishing loads of success to all the authors out there hoping to sell their books this year.

I recently heard from an author I met while giving a presentation at an out-of-state writers' conference this summer. He wrote to ask what I thought about his book, which had been published by a small press a couple of years ago. He's had some interest from a film producer and wanted to know what I thought about his chances of promoting the book this year.

I thought I'd share my response to him with those of you who are thinking of marketing a book that has been out for a few years (some details have been changed to protect his privacy). I hope you find this helpful! -P.M.

Hello Friend:

Happy New Year! Hope 2010 is a good one for you and yours.

Congratulations on the interest from a film backer. If the offer is legit, my advice would be to pursue that opportunity. You might need to hire someone to write the screenplay (or write it yourself), but once you have it done, you can shop it around to others if this person doesn't come through.

I did read your book when I returned from the conference this summer. It had a good voice (kind of noirish, I thought) and seemed geared toward male readers.

If I recall, the book was written and published a few years ago -- is that correct? If so, that's a bit of a problem, because backlisted books are hard to promote to booksellers for signings -- they usually want books that are recently released (six-eight months is the typical book tour life cycle for a new release). Also, as you probably already know, the book selling market is really shrinking. Experts are forecasting that over 400 independent bookstores will close this year, and the big brick-and-mortar sellers (Barnes & Noble and Borders) are struggling. I heard that Borders resurrected itself from bankruptcy, but my experience with them this year is that they are still in trouble (slow to pay and unwilling to list new authors I've sent their way).

The e-book market is rapidly expanding, so if your publisher hasn't created a Kindle edition of your book, ask him to do that as soon as possible. Price it reasonably ($4.99 is the maximum price I recommend for a book by an unknown author). Make sure the Amazon listing includes reviews and is linked back to your paperback version. The nice thing about e-books is that they sell themselves -- the market is growing, and new Kindle, Nook, Sony eReader, and other mobile ebook device owners are hungry for material to download.

As for promoting the hard cover version, I recommend that you do as much as you can to develop your platform. I'm assuming you're an expert on ________, so you may want to consider a speaking tour on the topic. I imagine there are groups dedicated to your book's topic, and you probably know who and where those are. It would be great if you could develop a talk or presentation that you could give at group meetings (your accountant would know if these trips can be a tax write-off, so keep all your travel receipts).

You also might consider developing a blog on the topic and trying to appear as a guest blogger on other sites (this is a great way to build your platform). Keep it active and try to post as often as possible (once or twice a month at a minimum). Another good way to develop interest in you and your book would be to write articles and submit them to journals, magazines, online sites, etc. Always give a brief one or two-line bio and links back to your website and/or publisher's site at the end of each guest blog post and article.

Once you develop a following from your speaking and blogging/article work, that would be the time to try to book some radio and TV appearances. But you have to build a platform (i.e., develop some notoriety and expertise) first -- otherwise, it's a tough sell to the radio and TV producers.

Hope this info is helpful. Let me know when you plan to be here in San Diego, and we'll get together for lunch.

See you soon! -Paula

Five Ways to Create Inspiration

Paula's note: I've been wanting to write about inspiration and came across this wonderful post -- which first appeared as a guest post on Cassandra Jade's site -- by author and blogger, K.M. Weiland. Katie was gracious enough to give me permission to reprint her very astute and insightful description of this critical element of the writing process. Enjoy! -P.M.

I think it’s safe to open this post with a broad, sweeping generalization: We write because of inspiration. Not only because without inspiration we wouldn’t have anything to write about, but also because inspiration is the writer’s version of runner’s high. It’s this top-of-the-world, explosion-of-joy experience that makes the personal sacrifices and hard work of the writing life more than worth it.

Inspiration, however, is a slippery thing. Ultimately, it is intensely personal, unrepeatable, and often unresponsive to conscious prodding. You can’t force inspiration. It either happens or it doesn’t. You can’t sit yourself down at your desk, squeeze your eyes shut, and demand that inspiration appear in front of you complete with a drumroll and a puff of smoke. Inspiration is a gift, and like all gifts it must be treated with gratitude and responsibility.

But none of this is to say that we can’t position ourselves in the path of inspiration. Instead of just waiting around for the muse to hit us in the head with a lightning bolt, we can learn, in a sense, to create inspiration. Following are five ways I’ve learned to be receptive to inspiration. Inspiration, after all, is all around us; we just have to learn to become a conduit for it.

1. Look at the world through the lens of your story. When I’m in the midst of brainstorming a story, I wear it like a cloak. I, in essence, look at life through the lenses (rose-colored or otherwise) of my story and its characters. I’m washing dishes, walking the dog, running late? Maybe my characters are too. I hear a song on the radio, and it becomes an anthem for the scene I’m working on. I pass an interesting old codger in the mall, and suddenly he’s running amok among the characters in my head.

2. Listen to your subconscious. Never underestimate your subconscious. When you’ve come to a snarl in your plot, don’t think too hard. You can only push your conscious brain so far. On more than one occasion, after I’ve backed myself and my characters into a seemingly insurmountable corner, I’ve sat at the keyboard for hours, racking my brain for an answer that just wouldn’t come. But when I return to the problem the next day, after my subconscious has had a chance to mull over the matter for the night, the solution is practically staring me in the face. When you come across an interesting snippet of an idea that you aren’t quite certain how to develop, toss it into your subconscious for a while. Sometimes ideas stew in the back of my mind for years before suddenly reappearing on center stage as something worth pursuing.

3. Lollygag creatively. Novelist Michael J. Vaughn, who coined the term “creative lollygagging,” purposely looks for mindless tasks (gardening, walking, pulling weeds) to occupy his hands, while his brain stews on his story. “We are not talking about sitting around on a couch. Just as a satellite dish needs electricity, you need some blood pumping into that brain. Next, consider low focus. The activity shouldn’t be so intense that you don’t have time to think (Grand Prix and ice hockey are out). Look for a mellow pursuit, surrounded by low-level distractions.” (From Vaughn’s article “Creative Lollygagging” in the December 2006 issue of Writer’s Digest.)

4. Combine stories. Like most every other writer on the planet, I have at least half a dozen stories romping around in my brain at any given moment, most of them in need of that spark of “something” that will suddenly transform a gem of inspiration into a full-fledged concept worthy of my time and attention. Stories require many layers, and usually they acquire their layers organically. But some of the best complexities in my stories have been the result of combining two (or more) entirely different stories. Juxtaposition creates instant conflict, originality, and depth. Take a look at some of your embryonic stories and see if you can get something special by combining one more of them.

5. Feed the muse. Your creative mind is a living organism that requires just as much attention and nurturing as any visible part of your body. Lavish it with care, and it will flourish. Feed it just as carefully as you would your stomach. Nourish it with quality literature, movies, music, and art. Let it lap up the offerings of other artistic minds—and just see if the muse doesn’t take off running all on its own!

Finally, and most importantly, don’t wait for inspiration. We’d all like to take up permanent residence in that rarefied atmosphere where the “inspiration high” is a constant state of being. But, as all writers discover sooner or later, that high will inevitably run dry. If we allow our writing to dry up with it, we’ll never so much as finish a story, much less be read by anyone. Inspiration is much more likely to strike when your mind is active. So even on the days when the mental well seems to have evaporated and blown away in clouds of steam, sit yourself down at your desk and keep writing. Inspiration, after all, is really a very small part of the big picture.
_________
K.M. Weiland writes historical and speculative fiction from her home in the sandhills of western Nebraska. She is the author of the historical western A Man Called Outlaw and the recently released medieval epic Behold the Dawn. She blogs at Wordplay: Helping Writers Become Authors and AuthorCulture.

Seven Ways to Make Hiring a Book Publicist More Affordable

Hiring a publicist can be an expensive proposition, especially for self-published authors and those whose books are published by presses that offer little or no marketing support. With some publicists asking $1500 - $5000 per month in fees, authors are often surprised by the amount of money they need to spend to get the word out about their books.

But publicity doesn’t have to be a bank-breaker. Here are some tips you can use to help defray costs when working with a publicist to promote your book:

1. Plan ahead
The best time to start planning how you’ll market a book is while you’re in the process of writing it. Think about who might want to read your book, where you’re most likely to find those readers, and how much you’re willing to spend on reaching them. If you plan to self-publish, research PR pricing in your subject area and start setting aside cash early, so that you’re prepared for costs when your book is published. Any amount is fine, as long as you’re willing to live within those monetary limits when your book comes out. If you’re offered an advance on your manuscript, don’t spend it -- save it to create promotional material, advertise, hire a publicist, and/or cover travel costs when your book is released.

Once your book is published, think about what you want in the way of events and media coverage. Decide who your readers are, and consider the different niche categories and venues you might explore to reach your audience. The more clarity you have about who your audience is and what you want in the way of publicity, the more you’ll be able to articulate that to a potential publicist.

2. Shop around
Get the names and numbers of publicists in your price range or area of expertise and spend some time getting to know them. Ask for references and talk to those individuals – they’ll give you a good idea of what it’s like to work with the person you’re considering hiring. Discuss your needs with potential publicists and be certain that they have the experience and contacts to do what you want done. Know how each individual publicist bills, how she provides updates, and when she expects to be paid. If you work on a contractual basis, ask to review the contract first, and don’t be afraid to make changes based on your own expectations.

3. Negotiate
Everything’s negotiable these days, and that includes public relations services. If you cannot afford a publicist’s fees, offer to pay what you can afford and see if there is some work the publicist is willing to do for that amount. Consider prepayment options – perhaps a publicist would be willing take a percentage off her rate if you offer to pay in advance for a set amount of work, or if you can guarantee a number of hours per week. Be creative, but be fair – if what you’re offering doesn’t cover what you expect the person you’re hiring to do, the relationship most likely won’t last.

4. Be prepared
The more footwork you do up front, the less you’ll have to pay your publicist to do. Learn how to write a press release and generate one that your publicist can either use as is or as a source for key information. Once your press release is finalized, post it on free sites on the web. Create a bio, Q & A, and brief synopsis, so your publicist doesn’t have to spend time on these pieces herself. Research venues, media, and blogsites you’re interested in, and provide your publicist with contact info – the more you do up front, the less she will have to do for you.

5. Participate
Once your publicity campaign begins, be a willing participant in the process. Keep your publicist informed of commitments and dates you’ve scheduled on your own, so he doesn’t double book you. Offer information and assistance with locating media in the areas on which you’ve focused – oftentimes a publicist will be trying to book you in a part of the country (or outside it) with which he is unfamiliar. If you have first-hand knowledge of certain city, county, and state areas, libraries, booksellers, and media outlets, share what you know, so that he doesn’t spend extra time on research.

6. Partner up
Even if you haven’t coauthored a work, there are plenty of other authors out there who are published in the same genre and niche market as you. Work with those writers to team-up at book signings, workshops, trade shows, and fairs. Share costs on booths, travel, and even publicity work by doing events jointly rather than alone.

7. Develop a backlist strategy
While it’s true that the window for marketing most books is during the first six-eight months after they're published, you’ll still want to promote your book once that time period has passed. Even if you choose not to continue appearances and book signings after the first year, you’ll want some kind of promotional effort in place for the months that follow. Work with your publicist and your publisher to develop a marketing strategy for your book once it’s backlisted. Enter your book in contests and issue press releases when it wins awards or garners any other news-worthy attention. If your book first appears in hard cover, consider a re-release in paperback form. Write columns and blog posts, and use social networking and a strong web presence to keep your book in the public eye.