Writing Between The Lines with Tom Robinson
Big Thrill managing editor, Joe Moore, recently chatted with Nashville-based literary publicist, Tom Robinson.For the thriller fans out there that may not know, what is a publicist? How did you become one? What are the qualifications?
I'm what is called an independent publicist. I'm self-employed and work with authors to promote their upcoming book. As a publicist I'm helping them get publicity, coverage and awareness for their title and for themselves. I always say being a published author is a numbers game as there are so many out there hoping to catch the attention of the reading public. I try to help authors break through and get their share of publicity. This is an "impressions" game. The more impressions you get through publicity and advertising the better off you are. I develop a plan that incorporates both. In the ideal situation you combine publicity with advertising whether you're selling food, cars, furniture or promoting authors and their books. The key is to target it all for your audience. Part of my job is to also work with the publishing house publicists, who are of ten trying to juggle so many titles at one time. We're out there trying to achieve the same goals and I can devote more time to the efforts. There's a lot of followup and grunt work that goes with this.As for how did I get the job? I'm hired by the authors. I started focusing on authors and books almost 4 years ago when ITW member Tasha Alexander took a leap of faith and hired me for her debut novel. Since then I've had the good fortune of working with many fine authors. Authors contact me through my website via e-mail or phone. Some have been referred by other authors and literary agents. I talk with the potential author by phone. We discuss their book, objectives and author background. We also discuss my plan and fee. The author needs to contact me about five months prior to book release as there is so much advance work and media contact to be done. Waiting until two or three months out is pushing it as you've missed some deadlines and valuable media pitch time. Why am I qualified? I believe I'm qualified because I have a deep, comprehensive understanding of media. I've been in media for 30-something years as a columnist, magazine writer, magazine editor, PR and ad executive and manager. I've been on the other side and understand what media is looking for or what a book editor might be looking for, or a blogsite might be interested in. I understand publicity, advertising, marketing, brand imaging and how they all blend. I've also managed to make and continue to make good contacts. In the end I believe I've gotten some good results for authors.
You state on your website that your two goals in doing your job are to develop and enhance author visibility and publicize the book. What are the major roadblocks you face in accomplishing those goals in today's shaky economy?
I refer to them as challenges rather than roadblocks. To me a roadblock is a structure set up to stop advancement. It says "stop and turn around." Challenge means there's still a chance to advance. Doesn't happen in every case, but challenges don't stop you cold. The economy has changed the way I approach business. With newspaper cutbacks we see a dwindling number of book editors, book reviews, etc. That saddens me a bit, having started at newspapers and I still like to hold a newspaper. But I understand the reality of drastic changes in the media technology. More readers are going online to find reviews, book blogs and author information. It requires researching media opportunities on the internet. And that's OK. There are several opportunities to reach the target audiences. The Internet is also the only advertising I do. I can reach audiences focused on one thing--books. It's a good bang for the buck.
You represent a lot of ITW members. Do you see any common challenges in promoting the thriller genre over others?
The genre is very popular right now. That holds true for the thriller, mystery and suspense novels. There's a lot of competition with so many excellent writers. I've been fortunate to work with some of the best talent, like MIRA's JT Ellison. I find they each write a different style and taste...no cookie cutters in the bunch. To me that's good, so I'm not always pitching the exact same thing. Now they all face the same challenges, whether you're talking thriller writers, romance writers, biographers, etc. But the thriller, mystery and suspense categories attract a vast number of readers right now. I hear that when I'm pitching to media.
Does being based in Nashville help or hinder you in promoting20your clients and their work?
In this day and age it doesn't matter as long as you have the work ethic, contacts and know-how to handle the job. Nashville is a large, multi-cultured city. It has great music and musicians, of course. It's a large publishing city, is home to a major book festival and also is the location for one of the leading book trade publications, BookPage. Let's not forget we have the Tennessee Titans, too. Technology today is such that you can work from just about anywhere as long as you know your craft and can work with contacts. Now let me also point out that Nashville is the home of a thriving literary community. It's incredible the number of published authors coming out of a city the nation knows only for its great music. ITW member JT Ellison is one the city's best and she's gone so far as to base her popular Taylor Jackson series in Nashville. I'm wrapping up work with a terrific new Penguin Berkley author and ITW member Jennie Bentley of Nashville. She writes Do-It-Yourself mysteries. The list goes on. I had one media outlet here recently tell me they had to limit the number of author interviews to best-sellers because Nashville has so many published authors now. It's a great problem for a city to have.
How does an independent publicist differ from the staff publicist at the publisher?
I always say publishing house publicists are often understaffed and overworked. They have a great deal on their plate. I can devote more time to an individual author and extensive follow-up is vital to making things happen. I have a good relationship with many of the pub house publicists. I'm not a threat to them. Most of them welcome the extra hands. I also develop a plan that includes feature press releases, author Q and A to go along with what the pub house produces for the press kit. I spend a great deal of time pitching via phone and e-mail to media outlets, doing the follow-up and grunt work which others don't often have time for. Then I develop ads for targeted online sites that are built in to the fee. It's a value-added service. It's all timed around the book's release. This publicity is again designed to promote not only the book but the author brand image which will help increase reader base beyond that book. I can also be hired between books to help maintain name awareness. Another role I serve is that of sounding board and PR counsel. During the time I work with them--4 or 5 months-- authors are experiencing highs and lows, excitement and nervousness. Rightfully so. I try to "be there" for them to listen and to offer input. I get to know some of them pretty well which a--helps me do a better job and b--is interesting because so many of the authors I never get to meet face-to-face. We get to know each other through endless phone calls and e-mails. I've worked with ITW member CJ Lyons, a great talent. But I've never had the opportunity to meet her. She's in Hilton Head and I'm in Nashville. I'm a bit of a health food nut and because she understands nutrition occasionally I've sought her opinion on certain foods. She's been very good natured about it. I've had a chance to work with St. Martin's T Lynn Ocean, incredible at mixing southern humor with mystery. She's fun to work with and a blast to talk to. Yet, I wouldn't know her if she walked up to me. But you can bet T Lynn and CJ will be on my Christmas card list.
Is the literary publicist an expanding or contracting profession? In other words is it an endangered species or a thriving occupation.
As long as publishers print books I believe there will always be a need for publicists/media consultants. At least I certainly hope so because my financial adviser said to put off any thoughts of retirement. Honestly, I dig what I do. It's a niche business, for sure. It does require a lot of work and it's a field where it really helps to have media/publicity/marketing experience. And you have to have patience while growing the business and when waiting for media results.
How does a new author justify the expense of a publicist when the economy is tanking?
In opening discussions with authors--whether new or old--I want them to understand what to budget for my work and what I'll do for them over four or five months. In the end the author has to make the decision. I want them to make the right decision. If they can't make it work financially then they probably shouldn't do it. Whether the economy is good or bad the author has the same goal--sell books and build the brand image. They want and need to stand out as much as possible without breaking their bank account. They have a lot of things to weigh. But I certainly believe it's well worth the money to hire a good publicist and hopefully I make it worthwhile. I'm usually hired for a period surrounding a new book release. The key is to be brought on board well in advance of release date to do any good. Now if an author wants to go full-fledged, year-long brand imaging then that's an entirely different and larger budget and involves a more comprehensive plan.
What does your crystal ball reveal about the future of literary promotion and marketing?
It says the need will be there and it will continue to change as the media industry continues to change. We used to call newspaper, tv and radio the "traditional media." Well the opportunities have drastically broadened to include what we now call "non-traditional media" thanks to internet, websites and blogs. I'd say now I pitch the non-traditional as much as traditional because traditional is shrinking and non-traditional is growing. The readers have figured that out. Even more emphasis will be on non-traditional as we move along. To remind me of how far media and technology have come since my first newspaper job, I keep my old portable typewriter near my laptop. Wonder what I'll put next to my laptop in 10 years? Stay tuned. This industry is getting interesting.
Tom Robinson is an author publicist working with authors across the country. He has been in the media business for more than 30 years as a newspaper writer, columnist, magazine writer. magazine editor and a public relations and ad executive. He has worked with several ITW authors. Tom is shown in this photo with ITW Debut Author Jennie Bentley. A native Floridian, Tom has resided the past 32 years in the Nashville area. For more information visit his website at www.authorandbookmedia.com
I refer to them as challenges rather than roadblocks. To me a roadblock is a structure set up to stop advancement. It says "stop and turn around." Challenge means there's still a chance to advance. Doesn't happen in every case, but challenges don't stop you cold. The economy has changed the way I approach business. With newspaper cutbacks we see a dwindling number of book editors, book reviews, etc. That saddens me a bit, having started at newspapers and I still like to hold a newspaper. But I understand the reality of drastic changes in the media technology. More readers are going online to find reviews, book blogs and author information. It requires researching media opportunities on the internet. And that's OK. There are several opportunities to reach the target audiences. The Internet is also the only advertising I do. I can reach audiences focused on one thing--books. It's a good bang for the buck.
You represent a lot of ITW members. Do you see any common challenges in promoting the thriller genre over others?
The genre is very popular right now. That holds true for the thriller, mystery and suspense novels. There's a lot of competition with so many excellent writers. I've been fortunate to work with some of the best talent, like MIRA's JT Ellison. I find they each write a different style and taste...no cookie cutters in the bunch. To me that's good, so I'm not always pitching the exact same thing. Now they all face the same challenges, whether you're talking thriller writers, romance writers, biographers, etc. But the thriller, mystery and suspense categories attract a vast number of readers right now. I hear that when I'm pitching to media.
Does being based in Nashville help or hinder you in promoting20your clients and their work?
In this day and age it doesn't matter as long as you have the work ethic, contacts and know-how to handle the job. Nashville is a large, multi-cultured city. It has great music and musicians, of course. It's a large publishing city, is home to a major book festival and also is the location for one of the leading book trade publications, BookPage. Let's not forget we have the Tennessee Titans, too. Technology today is such that you can work from just about anywhere as long as you know your craft and can work with contacts. Now let me also point out that Nashville is the home of a thriving literary community. It's incredible the number of published authors coming out of a city the nation knows only for its great music. ITW member JT Ellison is one the city's best and she's gone so far as to base her popular Taylor Jackson series in Nashville. I'm wrapping up work with a terrific new Penguin Berkley author and ITW member Jennie Bentley of Nashville. She writes Do-It-Yourself mysteries. The list goes on. I had one media outlet here recently tell me they had to limit the number of author interviews to best-sellers because Nashville has so many published authors now. It's a great problem for a city to have.
How does an independent publicist differ from the staff publicist at the publisher?
I always say publishing house publicists are often understaffed and overworked. They have a great deal on their plate. I can devote more time to an individual author and extensive follow-up is vital to making things happen. I have a good relationship with many of the pub house publicists. I'm not a threat to them. Most of them welcome the extra hands. I also develop a plan that includes feature press releases, author Q and A to go along with what the pub house produces for the press kit. I spend a great deal of time pitching via phone and e-mail to media outlets, doing the follow-up and grunt work which others don't often have time for. Then I develop ads for targeted online sites that are built in to the fee. It's a value-added service. It's all timed around the book's release. This publicity is again designed to promote not only the book but the author brand image which will help increase reader base beyond that book. I can also be hired between books to help maintain name awareness. Another role I serve is that of sounding board and PR counsel. During the time I work with them--4 or 5 months-- authors are experiencing highs and lows, excitement and nervousness. Rightfully so. I try to "be there" for them to listen and to offer input. I get to know some of them pretty well which a--helps me do a better job and b--is interesting because so many of the authors I never get to meet face-to-face. We get to know each other through endless phone calls and e-mails. I've worked with ITW member CJ Lyons, a great talent. But I've never had the opportunity to meet her. She's in Hilton Head and I'm in Nashville. I'm a bit of a health food nut and because she understands nutrition occasionally I've sought her opinion on certain foods. She's been very good natured about it. I've had a chance to work with St. Martin's T Lynn Ocean, incredible at mixing southern humor with mystery. She's fun to work with and a blast to talk to. Yet, I wouldn't know her if she walked up to me. But you can bet T Lynn and CJ will be on my Christmas card list.
Is the literary publicist an expanding or contracting profession? In other words is it an endangered species or a thriving occupation.
As long as publishers print books I believe there will always be a need for publicists/media consultants. At least I certainly hope so because my financial adviser said to put off any thoughts of retirement. Honestly, I dig what I do. It's a niche business, for sure. It does require a lot of work and it's a field where it really helps to have media/publicity/marketing experience. And you have to have patience while growing the business and when waiting for media results.
How does a new author justify the expense of a publicist when the economy is tanking?
In opening discussions with authors--whether new or old--I want them to understand what to budget for my work and what I'll do for them over four or five months. In the end the author has to make the decision. I want them to make the right decision. If they can't make it work financially then they probably shouldn't do it. Whether the economy is good or bad the author has the same goal--sell books and build the brand image. They want and need to stand out as much as possible without breaking their bank account. They have a lot of things to weigh. But I certainly believe it's well worth the money to hire a good publicist and hopefully I make it worthwhile. I'm usually hired for a period surrounding a new book release. The key is to be brought on board well in advance of release date to do any good. Now if an author wants to go full-fledged, year-long brand imaging then that's an entirely different and larger budget and involves a more comprehensive plan.
What does your crystal ball reveal about the future of literary promotion and marketing?
It says the need will be there and it will continue to change as the media industry continues to change. We used to call newspaper, tv and radio the "traditional media." Well the opportunities have drastically broadened to include what we now call "non-traditional media" thanks to internet, websites and blogs. I'd say now I pitch the non-traditional as much as traditional because traditional is shrinking and non-traditional is growing. The readers have figured that out. Even more emphasis will be on non-traditional as we move along. To remind me of how far media and technology have come since my first newspaper job, I keep my old portable typewriter near my laptop. Wonder what I'll put next to my laptop in 10 years? Stay tuned. This industry is getting interesting.
Tom Robinson is an author publicist working with authors across the country. He has been in the media business for more than 30 years as a newspaper writer, columnist, magazine writer. magazine editor and a public relations and ad executive. He has worked with several ITW authors. Tom is shown in this photo with ITW Debut Author Jennie Bentley. A native Floridian, Tom has resided the past 32 years in the Nashville area. For more information visit his website at www.authorandbookmedia.com ThrillerFest
ITW's annual celebration of the thriller world is the largest event of its kind, a meeting place for authors, readers, budding writers, and publishing industry professionals.
For 2011, we’ll be back in the heart of New York in July with the ThrillerFest conference including CraftFest and AgentFest.
ThrillerFest VI will be held at the Grand Hyatt Hotel in New York City.
The dates will be July 6-9, 2011.
More information to follow.
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