Shoes and ships and sealing wax, by Catriona

Do you try to stay current in your reading, to keep abreast of the market, or do you read from your TBR pile at random? Do you read classic mysteries?

This question's caught me at a funny time. There's my usual answer and then there's my this month answer. 

My usual answer is that I read exactly what I want to with no consideration except enjoyment: I don't read aspirationally anymore; I'm well-past trying to impress anyone; and the notion of guilt about pleasure is mystifying. So, it's sheer literary hedonism. Three middle-grade capers about a racehorse? Loved 'em.  Henry IV Part One? Devoured it. A social history of the British High Street? Yes, please.

But when Rob Osler - whose second Harriet Morrow mystery I will be acquiring later this month - came up with the 5:1 plan, I was in. Basically, his suggestion is that every fifth book you read should be by an author from an under-represented or historically disadavantaged group. Thing is, I checked my TBR shelf (alphabetical, which is how I read through them too) and disovered that there was no run of five or more books by straight whites, so I was already doing it. I'm a bit light on men sometimes, but there's usually one every five or not far off it. Anyway, recent reports on the plight of straight white men in publishing have been . . . bollocks. They're not under-represented; it's just that loss of privilege feels a lot like injustice until it's given a moment's reflection.

As to trying to stay current, hahahahaha. My #FridayReads recommendations are full of me overflowing with astonished admiration about a book everyone read last year. Or the year before. But I'm doing a service to my fellow lazy readers, right? 

I broke the news of this 2021 gem . . . in 2025

And what is this "market" of which you speak? I write 1920-40s detective stories, comedies and domestic noir, all under the same name. As my editor herself said, "the brand's a mess". So, given that I can't even write as if there's such a thing as a market, it was never very lilely that I'd read that way.

I do read - re-read mostly - classic mysteries, mind you. Sometimes only A Surfeit of Lampreys or 4.50 From Paddington will do. I don't read many new-to-me classics for the first time, though. I've tried but I've usually come to the conclusion that there's a good reason they're forgotten. One exception was discovering Anna Katherine Green. I read That Affair Next Door expecting a curio, but it was terrific!

So, that's the usual way of it. But, for the last month, in the run-up to Left Coast Crime where I'm moderating a panel and interviewing the toastmaster, I've read as follows:

• Claire Booth - Throwing Shadows (a sheriff in the Ozarks)
• Leslie Karst - Death Al Fresco (Sally Solari culinary cosy)
• Audrey Lee - The Mechanics of Memory (Edgar-nominated fever dream set in a psych ward)
• Leslie Karst - Justice is Served (re-read of a memoir / cookbook)
• Gigi Pandian - The Library Game (locked room puzzle)
• Leslie Karst - Molten Death (the Hawaii tourist board might want a word)
• Susan Shea - Death and the Missing Dog (doing up a chateau in Burgundy, plus a corpse)
• Leslie Karst - Waters of Destruction (the Hawaii tourist board slightly mollified)

One way to look at that is that is would be a very strange month's reading if it was a free choice, right? But the other way to look at it is . . . I got to call all of that working! 

When I'm finished Waters of Destruction, I'm going back to the TBR, via a Jodi Picoult I found in a wee free library by a footpath last weekend. Then it's Bob the Drag Queen's experimental novel about Harriet Tubman, although Joy Fielding's got a new one out . . . and on we go.

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Staying current by Eric Beetner

 Do you try to stay current in your reading, to keep abreast of the market, or do you read from your TBR pile at random? Do you read classic mysteries?

I do try to stay current. Keeping up to date is another thing, though. I have titles in my TBR pile from 3 years ago I haven’t gotten to yet because of a million different reasons, so "current" is a fluid term for me mostly meaning in the current decade.

One way I keep current in recent years is that I’ve been given the opportunity to judge for some major awards. I get sent current books from the major publishers and have been reading over 150 books a year (or at least starting them). It’s getting a little sad because I find myself so at odds with what the mass market is publishing these days that it makes me question everything, especially what I’m writing. 

When I read books with a ton of hype, with huge marketing pushes and $30 cover prices and I feel nothing toward them, it makes me wonder how I got so out of step.

I try not to think solely in terms of “Wait, THIS got published and I can’t sell anything to a major?” and instead just examine what makes those books so popular, because the basic facts are that if a certain type of book didn’t sell well, then they wouldn’t be published. So to know what readers are responding to, I feel it is in any writer’s best interest to know what is selling.

Not that it means you should write toward what you think will sell. Not at all. I certainly haven’t cracked the code on that yet. I’ve written books that I think are very mainstream and not at all unlike stuff that is being published in hardback these days only to be reminded that I am, in fact, very wrong (again). 

Much of what lands on my TBR pile that I seek out and buy for myself is a mix of books from writers I know and trust will deliver, and recommendations from people I trust. Whether it is bloggers, other authors, friends, if I know we have similar taste, then I’ll trust you to hook me up with a great read. Most years it is hard to even keep up with books from writers I know I like, but I do always try to fit in new voices to expand my reading and discover some hidden gems.

My go-to whenever I get in a reading rut is to hit the ol reset button with a vintage crime novel. I read extensively from the 40s, 50s and 60s. Of course, though I am loathe to admit it, even the 80s are vintage these days. I have a huge shelf of vintage paperbacks I know almost nothing about other than I liked the title and the cover was striking. It’s fun to randomly grab one off the shelf and dive in cold.

Most of what I like about a solid vintage paperback is the economy. These were tight stories told in half the length of most modern novels. They start in action and rarely let up. And they are plot heavy. Very little musing, backstory, info dumps, side stories or overlong descriptions. They get to the story and they keep it moving.

Novel such as this were maligned even in their day as “lesser than” fiction. Quick and easy to write, though I disagree with the easy part vehemently. Efficient storytelling is a lost art and one I think needs to be emphasized by far more writers these days.

So many of the contemporary novels I read take 50, 60, 70 pages of set-up before they reach the actual story. Here’s a hint: if the thing on the back jacket, y’know the plot, the thing that will make someone want to pick up your book in an airport, doesn’t happen until 15 or 20 thousand words in, then everything in that long intro is unnecessary. 

And there was far more crime in the crime novels back then. Yes, there were a thousand knock-off Sam Spades and low rent Phillip Marlowes. Yes, there was formula and repetition and imitation. But straight, no chaser, crime novels were plentiful in a way they simply aren’t today. Writers like Lionel White, Harry Whittington, Gil Brewer, Dan J Marlowe, Charles Williams were churning out original stories about crimes and criminals that are unpredictable, exciting and flat-out entertaining. To me, anyway. That becomes a matter of taste. If you love the new trends in "domestic suspense" then you won't find a lot to love from mid-century American fiction. But when I get burned out on current crime novels, which often go extremely light on the crime, turning to a vintage read is just the thing to get me excited again about the genre.

Non-fiction is always a good reset, too. I love reading about music and film and not having to concern myself over plot or whether a story is derivative or not. 

So if you want to write, you need to read and read the work of your contemporaries. Not exclusively, but you should know what publishers are buying. Because that will be what people are reading and if you want them to read you, then you need to write something they want. Its all a vicious cycle and none of that takes into account the luck involved, but you have to start somewhere.

 

Do You Read to Keep Up—or to Understand?

Do you try to stay current in your reading, to keep abreast of the market, or do you read from your TBR pile at random? Do you read classic mysteries? 

I’ve abandoned all hope of ever keeping on top of my TBR—and that’s a statement of engagement, not defeat. A book indicates I am still curious, still interested in learning about other ways of seeing and feeling. Fiction is not an escape.

Which brings me to demolishing my latest TBR pile: a steady diet of nonfiction for my historical noir thriller, Company Files 5: The Quiet Eagle. I surrendered the manuscript last week. My choice of verb, surrender, feels almost like defeat because my previous novel, Company Files 4: Eyes to Deceit, about the 1953 Iranian coup, was a bear to drum up blurbs and reviews.

Those who did pick it up didn’t always know what to make of it. The novel explored “realpolitik,” which is to say the language drives the action and violence happens offscreen. Bringing the mannerisms and mentality of Cold War architect Allen W. Dulles to life—writing sinister intelligence and seductive power—was the hardest work I’ve done.

And yet, “not interested in the subject” was a familiar refrain.

I’d committed to writing CF5 while the drafts of CF4 rested on my hard drive. If interest in Iran and Eyes was lukewarm, then I fear the response to a novel about the Suez Canal might be… polite.

In my Afterword to The Quiet Eagle, I listed the nonfiction titles I consulted and the unique angle I took with the Protocol of Sèvres for the plot. Every writer of historical fiction squeals when they find a lead into the story—mine was a particularly tasty one.

The more I researched, the more I realized: the United States today is behaving in ways eerily reminiscent of Great Britain in 1956. Not identical, of course—nothing ever is—but enough to make a historian twitch.

Some parallels leapt off the page:

·       Reserve currency inertia – Britain still acted as though the pound’s global dominance conferred authority. Today, the dollar occupies that same throne. Power lags behind perception, and sometimes the perception never gets the memo.

·       Imperial habit vs. geopolitical reality – Britain’s muscle memory for global influence was formidable. The U.S. shows similar reflexes, stepping into conflicts and projecting influence with the confidence of a power that’s been top of the hill for decades… whether the world agrees or not.

·       Alliance shocks and polite betrayals – Suez taught Britain that the United States might not back every unilateral adventure. Today, the U.S. finds itself navigating a world that doesn’t always bend to its will—surprise!

·       Intelligence as a comfort blanket – MI6 helped Britain maintain a fantasy of control, even when the facts said otherwise. In a similar way, modern intelligence and strategic planning sometimes prop up national self-perception as much as they inform action.

History doesn’t have to repeat to be instructive. Sometimes it’s enough to whisper, or in this case, to lean over your shoulder with a raised eyebrow.

So where does this leave my TBR? Somewhere between a battalion of unread paperbacks and a carefully curated stack of nonfiction that whispers secrets about past empires and present powers. I don’t worry about keeping up anymore. I read because I’m curious to understand the world in all its stubborn, contradictory glory.

Sometimes that means following a trail into the corridors of intelligence agencies I’ll never want to join, or tracing the habits of nations and people that think the rules don’t apply to them. Other times it means picking up a novel that simply reminds me humans are frustratingly human.

In the end, my reading—like my writing—is less about staying current than about staying attentive. About noticing the patterns, the echoes, the whispers. About keeping an eye on history, not because it repeats exactly, but because it’s rude enough to remind us of what we have not learned.

And if my TBR pile remains a permanent fixture on my desk… at least it’s an honest witness.

And if you’re curious to see the parallels in action—without reading an entire stack of 1950s intelligence memos—there’s a great explanation on YouTube: “The British Empire’s Final Mistake — America Is Repeating It by 2026” by the Wealth Historian. It’s worth a watch if you enjoy history whispering rather loudly.

 

Link: https://www.youtube.com/watch?v=yybCiRQ_Rv4

 

 

Do you try to stay current in your reading, to keep abreast of the market, or do you read from your TBR pile at random? Do you read classic mysteries?

I like my reading the same way I like my music, without boundaries. So, give me historical fiction, or old school Agatha Christie and as long as I can open the page and fall into the story, genre is never a consideration when making my decision on what to read. Don’t tell anybody, but I can still get into a little romance, every now and again too, even if no one dies.

Like most people I know, my TBR list is a bit on the out-of-control side of things. Didn’t seem to matter at all the last time I was in my favorite book store and had to sneak out to my car to hide the three bags of books I bought, so my friends wouldn’t think I had lost it and spent my rent on more books. I didn’t, but I won’t promise I never will. Who could blame me. I guess you could say, the bookstore is my casino.

Most people have a (to be read) TBR list. Mine is more of a TBR pile.  I tend to read based on my mood. Currently, I’m feeling a bit murdery, so I’m in the mood for one of my old favorites, John Sanford, I miss Luke Davenport. It’s been a while since I’ve checked in. I’m sure he has a tale to tell. Then of course I must check in with Ms. Holly, Stephen King’s newest hero. And I’m always in the mood for whatever my writing friends are cooking up.

My current read is Heather Levy’s, Hurt for Me, it’s a juicy one.  I’m enjoying quite a bit. I’m also excited by new releases coming soon from Yasmin Angoe, Faye Snowden and Jess Loury. The world is filled with more books than I’ll ever have time to read, as is my bookshelves. That’s the thing that keeps me up and reading late into the night, the fear of never being able to finish all the books on my list. But I’ll die happy trying.

 

Your stories deserve to live long, and prosper by Faye Snowden

I was thrilled when Angela Crook asked me to join 7 Criminal Minds. So, a big thank you to her, and a shoutout to the group for the warm welcome. Though I’m new here, you’ll learn that I’m definitely not a wallflower. And I was glad to hear that twisting the rules like taffy is perfectly acceptable. I may do so occasionally, but I will be careful not to break anything. Promise.

This month’s question about promotion is a good one. Some writers would say it’s the least noble thing about writing. Others go even further. They say that promotion has nothing to do with writing. (I imagine them saying this while sipping a cocktail containing absinthe, and sucking on a cigarillo.) I disagree with both of these ideas about promotion.

Hang in there with me for a moment.

As James said in the post before mine, we write because we are storytellers. I myself come from a long line of writers. My daddy wrote poetry. According to my mama, he paid for his chapbooks with money meant for the light bill, and read his rhythm and rhyme vignettes all over Compton. My grandmother wrote articles for her local paper, and my great aunt, Ruby Goodwin, authored a book called “It’s Good to be Black” in 1953. I hear her son wrote for Hollywood, including Bonanza, The Big Valley and All in the Family. So, I write because it’s in my blood. I also enjoy the challenge of transforming the blank page or a stream of consciousness into a story that will ultimately reach readers. Without readers, stories exist only in conversation with the writer. And we all know talking to yourself is a sign of madness. But in the hands of readers, a story grows, permutes, and takes on a life of its own. 

Ruby Goodwin & Bonanza Ep. Joshua Watson

That’s why promotion is vital to the craft.

I’ve made bookmarks, business cards, and stickers with my upcoming titles. I’ve done the bookstore rounds and talked to empty seats. I’ve appeared on more podcasts than I can count while thinking I’ll scream if I hear again the same question I’ve already answered a hundred times. (I never did, by the way. Scream, I mean.) I’ve put together enough goodie bags to make kids attending a birthday party apoplectic with jealousy.

But the best money I’ve spent on promotion? That was hiring a publicist for my last book, A Killing Rain (Flame Tree, 2022), and my upcoming book, A Killing Breath (Flame Tree, coming March 31^st). I made this investment because it ain’t no joke writing novels with a full-time day job, and six grandkids who don’t give two craps about promotions if Ma’dear can’t help make chocolate chip cookies. While the things I had been doing helped my stories get noticed, having a publicist significantly increased momentum. Rain was longlisted for the CWA Gold Dagger, and won gold in the Foreword Indies award. Publishers Weekly has already given a nice review to upcoming Breath. Would those things have happened without a publicist? Perhaps. But I was much too busy to take a chance and find out.

If you decide to go the publicist’s route, here is a bit of advice.

·       Lower your expectations: Working with a publicist is a bit like gambling. I know, I know, I said they helped me. But what you are buying from a publicist isn’t a guarantee that your story will get buzz or sales; it’s access to their media contacts and expertise. Your book might blow up (in a good way). What’s most likely to happen, however, is that you as a storyteller might start to get noticed, especially if your book resonates with readers.

·       Do your research: First, talk to at least three publicists and insist on references. Pretend that you’re hiring someone to remodel your kitchen. Don’t be desperate. Be prepared to walk away.

Second, and this is really important, know what it costs. You can hire a publicist for a few thousand dollars or twenty-five thousand dollars and up depending on what they provide and their track record.

Third, publicists, to protect themselves from your high expectations, may present you a contract with many loopholes. Do yourself a favor and have it looked over by a lawyer, even if the only lawyer you know is your cousin, Vinny. At a minimum, make them commit to who they are reaching out to, bi-weekly or monthly reports in a format that includes deadlines and responses, as well as regular meetings. Have a reasonable (for you) exit clause in case things don’t go well. Also, lawyer.

·       Don’t break the bank: Remember when I said having a publicist doesn't guarantee success? Only spend money that you can do without. I know, that’s tough. But please don’t charge up your credit cards, or get yourself into debt. If a publicist asks you to do this, run. Save going into debt for rainy days and emergencies. All that means is that you’ll have to find a way to integrate promotion into your life like I did at the beginning. Joining writing groups, building a network through conferences and group author appearances still work. 

Finally, study the craft, write often, and tell the best stories that you can. Always promote so that your story can live the good, full life it deserves.

Pro-mojo from James W. Ziskin

What is the best money you ever spent on promotion and marketing? Travel for bookstore reading events? Advertising? (If so, where—in a conference program book? Newspaper? Social media? Amazon)? Giveaways? A “discovery” website like BookBub or Fresh Fiction?

Over the years, we at 7 Criminal Minds have come to the consensus that there is no grand secret for selling books, no magic bullet, or foolproof stratagem. Maugham famously pointed out that there are three rules for writing a novel, but no one knows what they are. By the same token, no one has figured out how to sell novels either. God knows simply writing a good book is no guarantee of sales. Social media? Nope. Print ads? Do print ads still exist? In fact, not even giving your book away for free works. Yes, people hate to pay for entertainment, but they also place little value in products that cost nothing. It can’t possibly be worth a fig if they’re giving it away, right?

So we writers must content ourselves with fumbling around in dark spaces, probing and palpating like a determined proctologist or an enthusiastic nose-picker, in search of some eureka moment of enlightenment and inspiration.

But we never find it, do we? (By the way, sorry about the imagery in the preceding paragraph.)

What’s my answer, then, to this week’s question? What is the best money I’ve spent on promotion? You might as well ask me which breath is the sweetest one I’ve ever drawn. The truth is each one is opportune and gainful in some way. Every dollar spent, every conference attended, every reading…um…read. They’ve all represented a commitment to and an advancement of my work. Another step on the journey. We want to be read and appreciated, not only for some pie-in-the-sky hopes of achieving fame or striking it rich, but because we’re storytellers. Fish gotta swim. And writers gotta write.

Here are some examples of money I’ve spent. Some earned me a small measure of visibility, others didn’t. Some struck the right tone, others failed. The key is to make your promotions stick. The stickier the better. Business cards and bookmarks aren’t too sticky, but magnets are. And T-shirts and model cars.

Bookmarks — My first publisher was great at providing these free of charge. Lovingly, hopefully, I placed loads of them on tables at writer’s conferences, only to see them swept into a garbage can without ceremony on Sunday as the staff cleared the convention center for the next event. Still, you do need bookmarks, if only to have something to hand out to potential readers who might not otherwise remember your name.

Business cards — These are no longer useful. Dump them. A bookmark serves the same purpose. People can look you up on the Internet.

Ellie Stone New Holland, NY T-shirts — 

I once had retro T-shirts made up to promote my Ellie Stone series, which is set in the early 1960s. They were meant to recall the old-school gym shirts that were around back then. They cost about $10 each. Pricey but fun.

Vintage toy cars — I did a promotion for CAST THE FIRST STONE with die-cast Volkswagen vans. Everyone wanted one. Did it sell books? Not sure. But at $9.00 each, the promotion was an expensive one. Still, I feel to this day the cost was worth it, helping to create some buzz for Ellie Stone at Bouchercon.

Fridge magnets — Less expensive than the VW van, stickier, and cheaper. But more coveted? Not by a long shot.

Dewar’s White Label and Black Jack Gum — For Left Coast Crime, I made a STONE COLD DEAD gift bag containing the Ellie Stone T-shirt, a pack of Black Jack Gum (extremely sticky), and a miniature bottle of Dewar’s Scotch, Ellie Stone’s brand. The gum was a key plot point in the book. It turned out to be a promotion that got great attention.

For me, every dollar spent learning about writing has been worth something. From the auctions, giveaways, airfares, hotels, and drinks in the bar, I don’t regret a single dime. In particular, the conferences I’ve attended have been rewarding, and not just for the socializing. They’ve been tremendous learning experiences. I like to think I’ve taken great advantage of the opportunities available at such gatherings. I’ve been informed, instructed, and inspired. How so? Well, not to use the passive voice, for one thing. And a million more unquantifiable dividends. Not every endeavor needs to show a clear return on investment. Spending money on your dreams is never wasted. Even if the dream never comes true.

***

And now some self-promotion that costs nothing:

THE PRANK — A picture clipped from Playboy magazine, a missing Swiss Army Knife, and a prank gone terribly wrong conspire to make Christmas 1968 a deadly holiday to remember.

THE PRANK will be released in July 2026.

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A steady climb

Thoughts on Promotion and Marketing

by Dietrich Kalteis

The foundation of any successful book is writing one that readers value: something inventive and original, but not bizarre or quirky purely for the novelty. I wouldn’t want to be the first to venture into some strange sub-genre like musical crime fiction, with book blurbs like: “He’s on the case—and on the dance floor.”

I think the smart marketing happens before any thoughts on promotion begin, starting with a standout cover and top-notch editing. When readers encounter a book that catches their eye and draws them in—whether through an ad, a recommendation, a blurb on the back, or just casual browsing—they’re likely to become curious. That eye-catching cover and a gripping first chapter can turn browsers into buyers. And let’s face it, without those elements, even the cleverest ad campaign might flop.

When I get that confident feeling that I’m really on the last draft of the book I’ve written (and assuming it’s been accepted for publication), the next thing is to consider ways of getting it into readers’ hands—ideally on a realistic budget. Which will likely exclude blimps, skywriting or jumbotrons, leaving me to focus on building an audience through owned assets and direct connections.

Starting (or growing) a newsletter through an email list or launching a blog can be a good step. It puts the writer in contact, creating a direct line to readers who hopefully already like said writer’s voice.

Unlike social media, where algorithms can bury posts overnight, an email list gives consistent, predictable access to readers. And when going this route, a good email service provider can be worth considering, paired with a strong lead magnet to encourage sign-ups. A free short story, bonus chapter, or a downloadable PDF/Kindle sample that ends on a cliffhanger can spark those impulse buys. This targeted approach can attract the right readers: the kind who like a writer’s style and are more likely to spread the word.

An up-to-date author website is another key asset. It’s another good spot to post a sample first chapter, testimonials and reviews to build credibility and give visitors a taste of the work.

Maintaining a regular blog on the site—whether personal posts (like Off the Cuff) or group contributions (such as Criminal Minds)—adds fresh content that keeps visitors returning. I share new blog posts on my website and promote them on social media to expand reach. This creates a reinforcing loop, the content building engagement and social media amplifying visibility.

I’ve also had good results with NetGalley, distributing advance copies to readers, bloggers, and librarians before launch.

Collaborating with other writers is another smart move. And contributing to short-story anthologies lets writers share audiences and amplify reach.

And of course, nothing sells a book better than positive reviews. They’re the most authentic endorsement—the kind that may convince hesitant readers to take a chance.

In the end, marketing a book shouldn’t be left entirely to publishers, publicists, or marketing teams. Effective promotion begins with the book itself. When a writer pours their heart and soul into crafting a compelling story, that authenticity and passion shine through on the page. Readers sense it, connect with it, and that emotional resonance becomes the most powerful foundation for word-of-mouth buzz, glowing reviews and organic sharing—turning a book into its own best advocate in a crowded market.

Promo Puzzle

 

Terry here, with our doozy of a question for this week: What is the best money you ever spent on promotion and marketing? Travel for bookstore reading events? Advertising? (If so, where—in a conference program book? Newspaper? Social media? Amazon)? Giveaways? A “discovery” website like BookBub or Fresh Fiction? 

 Promotion is so hit and miss that it hardly seems possible to figure it out. Gone are the days when publishers routinely promoted their authors—maybe by helping pay for an ad or buying bookmarks. Or even, heaven forbid, helping to arrange a book tour. I look on with envy at those top tier authors whose publishers organize a book tour. And with absolute raging jealousy at those whose publishers actually pay for the expense of the tour. Not that I begrudge them, mind you. I mean I just wish we all could get those perks. 

Still, I have had some enjoyable promotional experiences. Probably my all-time favorite was when I stopped in at a local wine store and started chatting with the owner. She found out I was an author and asked if I might like to do an event at the store. I wrote a proposal, she accepted and it was a rousing success. I had a local bookseller come to sell the books and she sold out the forty copies she’d brought. I had arranged to give a ticket to each attendee for one glass of wine each. The store sold so many cases of wine that she simply opened up the bar for “seconds.” Not only was it a rousing commercial success, but it was great fun. 

On the other end of the spectrum, an Eileen Fisher clothing store asked if I’d like to do an afternoon “stop by and talk to the author” event. It was a dud. People came in to buy clothes and seemed confused about why an author was standing there with a pile of books. Not that they minded partaking of the wine and cheese the store had provided! 

So, it’s really hard to tell what’s going to work. 

The most common events, of course, are bookstore readings. And Covid threw a big wrench in those. Before Covid, I routinely went to bookstores not only in Texas and California, but in other states in between where I knew people who could help by bringing in readers and book buyers. 

It was a grand old time, even though occasionally no one would show up. I knew that was always a possible. 

When I was a new author, it seemed like anything I spent on promo was “worth it.” Hop on a plane and go from place to place reading at bookstores? Great! Buying promotional items like pens, little flashlights, bookmarks? Yes! Buying ads on Amazon or Facebook? Sounds good to me. BookBub? You bet! Fresh Fiction? Sure. I loved talking in front of people. Giving away swag was fun! Ads seemed smart. I was selling books, I was welcomed by bookstores, I arranged to read with other authors. I was invited to be on panels at Book Festivals. I was flying high. 

It barely entered my excited “new author brain” that most of the money I spent was going in to the pocket of my publisher. And that I was spending a lot more on promotion than I was getting back in royalties. And I was a little spoiled because although my first publisher didn’t spend money on my travel, they paid for bookmarks, they promoted my appearances, and they brainstormed with me about how to promote the books. Plus, my books were carried by Penguin-Random House, and their local rep got me all kinds of gigs I might never have gotten into.

My first inkling that I was spending a lot more than I was getting back happened in the dead of winter. At a bookstore event in Austin, even though it was sleeting outside, I had a good audience, including people who had driven well over an hour to attend.

The next day I was to go to Dallas, but I heard that the weather was going to be awful there. So I called the bookstore to make sure they were still going to have the event. They assured me that I should come despite the weather. Expenses: A plane trip. A hotel. A car. No one showed up. No one. Turned out that people in Dallas didn’t go out much when it was 15 degrees. 

And then Covid happened and for those of us who are firmly mid-list, the bookstore events because harder to book. I began to find that only if I arranged to speak with other authors would bookstores welcome me. And other authors lamented the same thing. The other issue was that I moved from the Bay Area to Los Angeles. In the Bay Area I had wide range of bookstores that were happy to host me, knowing I’d bring in a good audience. In LA I know some people, but they are all spread out geographically, and it was hard to get them to drive an hour in the evening. I actually feel like a poor country cousin, depending on long-established LA authors for invitations to join them. And those are few and far between. But there are people like fellow "mind" Eric Beetner, who beats the drum for authors all over LA. 

So I’m left these days wondering where the promotional money should be spent. I take out ads in mystery magazines and conference programs. I have run a few Amazon ads that seem to go nowhere, and Facebook ads simply baffle me. I think the writers who are most successful with those ads hire book promoters to run ad campaigns, and from what I’ve heard, those are expensive and authors rarely make their money back. Which leaves word of mouth. Always the best. Friends and family. Newsletter friends. Old fans. Golden. People who buy books for their relatives, who tell their book clubs, who tell friends. 

So…if you’re reading this, first….BUY MY BOOKS.

And then tell your friends.

Does Drinking with Fellow Authors Count as Marketing? - by Matthew Greene

 What is the best money you ever spent on promotion and marketing?

The rudest of rude awakenings I experienced as debut author was the realization that marketing was going to fall on my shoulders. Coming from the theatre and film worlds, I'd grown accustomed to fading into the background, letting my work speak for itself. Little did I know, the world of publishing doesn't take kindly to "vanishing" unless you're literally J.D. Salinger. And I, sadly, am not...yet! So, I had to get used to the subtle and not-so-subtle art of selling myself.

That being said...I'm not claiming to be good at this whole marketing thing. But I will get better. Watch this space.

To get back to the question, though, I will state proudly that I don't regret a single dollar spent on travel, events, or conferences. It may seem contradictory, since reading and writing are seemingly solitary acts, but nothing sells books (or authors!) quite community. So, of course, I leapt at every opportunity to connect in-person with readers and fellow authors at events like Malice Domestic and Bouchercon, as well as signing and events I planned myself.

More than the practical output of moving books and engaging with readers, these events offered the opportunity to build my network, which I'd argue is the most important thing a debut author can do. I happen to be working in a genre that is full of the kindest and most generous people I've ever met, which makes the "work" of networking a joy. Sharing drinks and meals, chatting between panels and signings, and staying up late for cocktails and disco dance parties (you know who you are)...it all adds up to the kinds of relationships that enrich your professional and personal life. 

This would be my strongest advice to new authors: find every possible chance to connect "irl" (as the kids say) with this fabulous community of new bookish friends. It will help get your books in front of people and feed your soul at the same time. And it's all tax-deductible!*

*Not legal financial advice. Please consult with an actual accountant. But...probably?