By Vivian Burnett.
The duty of bringing the productions of a publishing house to the
attention of the public is a very important one, and much depends upon
the cleverness and energy with which it is discharged. It can easily
be seen that no matter how good the books brought out by a firm, they
would be likely to remain on stockroom shelves if readers were not
properly made aware of their issue. The name "Publicity department" is
the most descriptive title that can be given to the part of the staff
devoting its energies to the many variations of news-spreading
involved in this work.
Publicity involves both editorial and commercial elements. From the
editorial side it is of prime importance that the person in charge of
the publicity have at the very beginning a complete and definite idea
of the reasons that have ruled in the acceptance of a book,--what
class of people it was published for, and just what species of a book
it is considered to be. Is it purposed to appeal to a certain
religious class of people? Is it for the distinctly literary? Perhaps
it is one of those volumes on the border line between a juvenile and
an adult's book, which may be presented either as a volume for young
or for grown-up folks. The publicity man must be in full understanding
of this estimate before he can do his work properly. On the commercial
side, he must know just the feeling of the trade in regard to an
author and any type of book; and must be in close touch with the
salesmen, not only at the beginning, but all through the life of the
volume. He can learn from them what amount of success the author's
previous books have met, and thus be enabled to present his volume in
a way that will hitch on to a previous success or avoid the odium of a
recent failure. Salesmen can help him to know the interests of every
section of the country, so that advantage can be taken of them in
bringing the book to the local bookseller's attention and influencing
him to a special effort in its behalf.
Few people are aware of the influence exerted by the book clerk, who
can substitute something "just as good" much more easily than a drug
or dry goods clerk, especially if he has a good argument to offer. The
largest part of the publicity of a publishing house is aimed to
influence the general reader, but more and more attention is to-day
being paid to the salesman in the bookshop, and quite wisely, too. He
cannot be expected to read all the books, and any effort made to give
him an acquaintance with your books that goes beyond their covers is
clear gain to him, to the publisher, and distinctly to the book-buying
public.
Now, a book can be made or marred by the publicity it gets. If it is
wrongly launched, it will have an uphill climb, whatever its virtues.
This is especially true, as a result of the fact that a good deal is
written and printed about a book before it is off press and present to
speak for itself.
One general rule should be most strictly adhered to in publicity, and
that is, be honest and be sincere. Nowhere is the rule "honesty is the
best policy" more unanimously justified. You may be as enthusiastic as
you please, but the book should be put forward for what it really is.
Only under such handling does it stand a chance for the full success
its qualities warrant. This all reverts to the question of the
editorial conception of a volume. Some books are not made for great
sellers; they are written for the keen enjoyment of a select educated
few; and if so presented that they fall into the hands of the popular
novel devourer, they will surely be condemned, and the condemnation
will reach and have its effect upon many who should legitimately have
bought the book. On the other hand, a novel of no literary quality
thrust into the hands of a person of bookish tastes will make an
influential enemy, who will doubtless have among his followers many
persons to whom the book would appeal. It is best to find out what
people will take the book, and advertise it to them. The process of
emasculating your presentation of it by cutting out everything that
would keep _anybody_ from reading it is a dangerous one. The dislikes
of the world of readers are too many for one to be able to dodge them
all, and, after all, most of us like a positive rather than a negative
volume. Just because many people do not read essays,--to take an
extreme case,--is no reason for avoiding the statement that yours is a
volume of essays. Fortunately, there are thousands upon thousands of
people who do read essays; and if the book is a good book of essays,
they will bring their influence--that word-of-mouth influence which is
almost as powerful as a "puff" by President Roosevelt--to bear upon
non-essay reading people, and you will be the gainer by that much for
your wisdom and honesty.
These observations are germane, and worthy consideration because
commercialism and the endeavor to produce big sellers are always an
influence to overstate, misstate, and be extravagant in the praise of
a volume. But such extravagance always discounts itself in the mind of
the reader, and experience has pretty definitely proved that what a
prospective buyer wants is a straightforward concise indication of the
story and its quality. A word of praise quoted from a review may help
him make up his mind, yet he probably knows it is a pretty poor book
of which _some_ newspaper doesn't say "Holds the reader's interest
from cover to cover" or "We hail the author of this volume as one of
the most promising of our American writers."
In considering the practical details of publicity, it will be clearest
to take them in chronological order. First: The book should be
thoroughly and critically read. The person in charge of the publicity
ought to have every volume put into his hands as soon as it is
accepted. When he has read it thoroughly and has formed his idea of
it, he discusses it thoroughly with the person responsible for its
acceptance. From this discussion, in which the sales department is
represented, evolves naturally the "editorial attitude" upon which
every line of future publicity and every sentence of salesman's talk
will be based. Without a complete understanding throughout the
establishment of the "editorial attitude" the entire publicity will be
aimless and unconvincing.
The first work in publicity on a season's book is probably the
catalogue, which must be had ready for the salesmen when they go off
on their trips. The aim of the catalogue is to present as full an
account of the book as possible. It is meant for the eye of an
interested person, who can be counted upon to read rather a lengthy
notice. Every possible detail of price, number of illustrations,
paper, size, kind of binding, table of contents, previous works by the
same author, are given, and thus it becomes a complete reference book.
It is the general custom of publishing houses to issue a complete
catalogue in the Fall, with a supplemental catalogue in the Spring
containing the books of the Spring season. Most firms also bring out a
Fall list, to present their Fall books, which would be buried beyond
notice in a bulky complete catalogue. In this Fall list not
infrequently the Spring books are included, making what is really an
annual catalogue. These three catalogues are essential, and they are
as a rule supplemented by many special book lists and pamphlets. A
holiday catalogue is a steady institution in nearly every publishing
house. Its aim is to present to Christmas buyers the most attractive
volumes of the house's issue, and it is usually elaborate, with many
illustrations, a fine cover, and it is often printed in colors. Then
there are frequently issued catalogues of books on special subjects,
art, children's books, special editions, etc.
The uses of catalogues are many. A large number are sent to the
publisher's best friend, the bookseller,--sometimes imprinted with his
name,--who distributes them. They also go out by mail to special lists
of people who are known to be interested in books, and a large number
are sent to persons who write asking information.
In elaborateness the circular follows close on the catalogue, and it
has quite as wide if not a wider field. It is large or small,
depending upon the importance of the book. Sometimes it reaches the
dignity of a bound pamphlet, but it is usually a single leaf or at
most a four-page folder. Here again, all necessary information of
price and contents is given at length. But as the person into whose
hands the circular falls cannot be counted on to be interested
beforehand, the whole make-up and arrangement of the circular is
calculated for drawing attention and fixing interest. The circular,
therefore, must be made attractive.
And here should be introduced a word in general on the appearance of
the printed matter that is sent out by a publishing house. It must be
good printing. It must be attractive printing. It is the indication to
the people whose eyes it meets of the work of the house it advertises.
Few people want to buy badly made books; and, unconsciously, if a
circular or catalogue is commonplace and badly printed, those
qualities will be attached to the book advertised. And it is quite
true, on the other hand, that the distinction and comely appearance of
a circular will prejudice in favor of the book. Moreover, a circular's
service can be rendered only when it attracts attention, and what is
spent in aiding it to catch the eye, through making it artistically
beautiful and printing it in color, will bring its return and more in
the added efficiency produced. There are, doubtless, people who would
not be affected by bad printing, but people of taste, the people who
most influence the sale of books, are sure to be antagonized.
Probably, the most useful circular of all is the little leaf or
"slip" circular. It is printed on both sides, and is inserted between
the leaves of books of similar interest to the one it advertises,
usually about three to a book. It is made the size of the ordinary
business envelope, for it is also used in direct circularization of
lists and as an enclosure with bills, statements, and sometimes with
general correspondence. Often, when advertising two or more books, it
has four or even eight pages, though the latter makes it almost too
bulky for insertion in books. These larger circulars have an order
form attached giving the list of books, and a place for the name and
address of the prospective buyer,--a device to make it as easy as
possible for him to order his selection. When such circulars are
inserted in books either the order form is left off, or something
substituted in its place, for, as can readily be seen, the order form
is a bid for direct business by the publisher which would naturally be
obnoxious to the bookseller. Larger and more elaborate circulars than
these as a rule are used only for direct circularization. The subject
of circularization is much too important and complicated to be
exhausted in a few paragraphs, or even in an extended article. Enough
has been said here, however, at least to suggest the circular's field.
The next problem in publicity to be taken up is the poster. The poster
has had its ups and downs, and in some quarters is a somewhat
discredited form of advertising, but it has its value. The
booksellers always demand posters. The one great argument against them
is that posters good enough to attract attention, that is, with a good
design and in colors, are somewhat expensive for book advertising. If
properly exhibited, they sell books, but the difficulty lies in the
fact that if they are _too_ attractive, they are likely to find their
way into a poster collector's portfolio before they have been exposed
long on the board. Yet, especially with leading books of fiction, this
is one of the risks that must be taken, for with each such
publication, the public eye must be caught with the fact of the book's
issue, and for this purpose a striking poster has no equal. For
serious books inexpensive clear type posters are quite sufficient.
The book being now nearly off press, there will be needed some matter
for the paper jacket that slips over and protects the cloth cover
while the book is on the stall. Most important is the brief note on
the front that serves to indicate the quality of the volume and thus
guide the purchaser. On a book of fiction fifty or not more than
seventy-five words of the very best possible presentation of the book
is required. Here is the place where most of all the prospective
purchaser's interest must be aroused. Here the most felicitous
publicity inspiration is needed--and the problem is to indicate the
story, yet not tell it, and to pique curiosity to the buying point. On
books of a serious nature a jacket note is just as essential, if not
more so, but the problem is different. The prospective purchaser of
such a book as "Irish History and the Irish Question," "The Flower
Garden," for example, has an interest in the subject already aroused.
What he wishes to know is the scope of the volume and the manner in
which the subject is treated. The note for such a volume, therefore,
should contain a plain, straightforward statement of the importance of
the book, the point of view taken, a brief table of contents
indicating the most important divisions of the subject, and some
mention of the author's special qualification for writing the volume.
On the back of the paper "jacket" and on the little flaps that turn at
the sides of a book, it is customary to put advertisements of cognate
books. Often these paper jackets are treated in elaborate poster
style, and for good reason, since as a rule they are the first part of
a book a buyer sees, and his attention is not likely to be attracted
if only cheap paper be used.
The date of the book's publication has probably now been set, and the
next step in publicity--a most important one--is the sending out of
review copies. This is the last thing in which haphazard methods would
be permissible. The list of newspapers who get complimentary copies
should be carefully selected, not so much with an eye to size of
circulation, as to quality and standing. A paper that is known to give
attention to books is worth two that have merely large circulations
and no distinction; first, because the books sent will be
appreciatively reviewed, and, second, because people in the habit of
buying books will consult the review columns and be influenced by
them. There are possibly one hundred and fifty or one hundred and
seventy-five papers in the United States to whom it would be
profitable to send a book. A great many more, however, think they
should receive them. With even the most popular novel two hundred
review copies is a generously sufficient number to place for review.
In deciding where these should go, the contents of the book itself is
of course the guide. Some books can be calculated to appeal more to
one section of the country than to another because of their
subject-matter. Certain classes of people--ministers, school-teachers,
sportsmen, doctors--can sometimes be drawn upon by the judicious
distribution of a few complimentary copies, to assist the sale of a
book, and then there is the home of the author, where special
attention can always be expected.
Opinions differ as to the amount of influence exerted by reviews upon
the fortunes of a book. It is certainly true that to trace direct
returns from reviews is often difficult. Frequently books which are
splendidly reviewed move slowly, and there seems no explanation of
their failure to "catch on." They may be, and frequently are, books of
real value and quality. The history of publishing is full of such
mysteries. On the other hand, _returns_ are visible enough when a book
is slated by the press; there its power is amply evident.
The American press is notably fair, notably discriminating, and
notably independent. It gives its own views fearlessly, and resents
any efforts made by publishers to get their own adjective-besprinkled
puffs printed. In rush seasons it will make use of publisher's
description, after carefully blue-pencilling obtrusive adjectives, but
it goes no farther. In fact, the newspaper-review part of publishing
publicity is best left alone. The book must do the work itself.
The book has now reached the place where that which is commonly called
advertising should begin; that is, publicity in newspapers and
magazines. The use of newspapers, to any great extent at least, is a
comparatively recent development in the publishing business, dating
back not much more than ten years. Its efficiency, that is to say, its
proportion of return to outlay, is far from being established. While
at the beginning of the movement great rewards were reaped, the light
of more mature experience seems to show that those books which, under
heavy newspaper advertising, reached editions of 100,000 to 150,000
were really special cases,--books of a peculiarly popular, almost
low-grade, quality, that had an exceptional public. It is sure that
what brought success with them would not succeed with the average
publication. For this reason, publishers to-day are by no means as
lavish as they used to be with their appropriation for newspaper
advertising. Yet even in this era of retrenchment a very large
proportion of the money devoted to publicity still goes to the
newspapers.
While it would be foolish to attempt formulating a set of fixed rules
for newspaper advertising, there are certain underlying principles
that should be borne in mind.
Books are in the class of luxuries; most books at least. There is no
natural demand for them to assist the advertiser, such as there is for
food-stuffs. With a book, it is the advertiser's business to persuade
the buyer that he will be interested or instructed or amused by the
volume to the value of his outlay, be it a quarter or fifty
dollars,--where in the matter of necessities and food commodities the
advertiser's task is the much more simple one of proving that his
product is intrinsically better or better value than any similar thing
on the market. The sale of a book depends entirely upon the almost
artificial desire that is created for it, whereas with other things
there is a real need, and it is necessary only to prove that the
article fills this need. For these reasons book advertising--with
piano, picture, music, candy, and perhaps automobile advertising--is
difficult to carry out profitably. It is the class most expensive
proportionately to the value of the product, for it can count in
only the smallest degree upon what is known as the "cumulative" effect
of a campaign. Every advertisement of such an article as a breakfast
food, for example, whether it be on a bill-board, in a newspaper, or
in a circular, adds to the effect of every other one. The repetition
of the name, whether it be consciously or unconsciously observed by
the public, assists in forcing attention and thus interest, and
finally results in a sale. Half a million dollars can be spent in
making "Whipped Oats" a household word. Every dollar backs up every
other dollar, and the demand for Whipped Oats will last for years.
"The Return from Davy Jones," which can have at the very most say
$5000 spent on it, benefits the very least from the cumulative effect,
and the demand for the book is practically over in a year, especially
if it be a popular novel. Each newspaper advertisement of a book must
in fact bring returns to pay for itself, and this, of course, demands
the very cleverest kind of "copy."
Many elements enter into the popularity and sale-ability of a book,
but no one seems to know just what they are. Even the best and most
experienced readers fail to pick successes--let big books go by them,
and conversely praise volumes that turn out flat failures. Yet certain
things in the line of publicity can be counted upon to assist in
making a volume's success. The name of a well-known author is the best
asset a book can have. That gets it good advance sales and a quick
and appreciative attention from the book reviewers. In this respect,
nothing could better exemplify the New England homely proverb, "Sich
as has, gits." The work of publicity on a book by a well-known author
is easy, if care is taken always to bring that author's name forward
in connection with his previous achievements. This is especially true
in regard to newspaper advertising.
Doctors violently disagree over book advertising principles, and
possibly it is best to start by saying that there _are_ none and that
each book is a rule unto itself. Certainly a close and careful study
of a book's points and the class of people to whom it would likely
appeal, its "editorial qualities," is the only proper basis for a
campaign. For the average novel by a well-known author the main
problem is to let the world know it has been issued. Therefore, in
advertising in a newspaper, the announcement of the book's publication
should be made in such a manner that all the readers of that paper
will notice it. The campaign should start with what is technically
known as a "must be seen" notice. It is the publisher's business to
shout loud enough to be heard above the clatter of the small
advertisements, "Just out--New book by Donan Coyle, 'The Return from
Davy Jones.'" If some piquant description of the book follow, this
should be sure to send all those readers of the paper interested in
Donan Coyle to the bookshop in search of the new volume. Much smaller
"ads." following from time to time, that may catch the eye of the
forgetful ones and arouse their interest by some words of personal or
press commendation on the volume, would close a campaign of this kind,
which would have naturally gathered in its trail many readers and even
non-readers not distinctly interested in Donan Coyle. It would at
least have started the mouth-to-mouth advertising of the book, to
which paid-for advertising can after all be regarded only as assistant
and support. In fact, when all is said and done the greatest service
advertising does is in reminding people of books they have heard
praised, and the best advertising is that placed on the road to the
bookstalls, a strong argument for the poster, since it is exhibited in
front of the bookshop, where it can catch the passer-by. In tune with
this conception of the advertisement as an announcement is this
general rule--advertise prominently the name of the book, and the
author's name if it is important. These are commodities you have to
sell, the things you wish people to ask for--just as the bacon-maker
wants you to ask for "Blank's Bacons."
For books that have no well-known author's name to assist them, or
those for which a large sale cannot be forecasted at the start,--books
that appeal to the select few,--other and more inexpensive methods
must be pursued. In most such cases it is probable that any
advertising in newspapers would be unwise, and this leads to the
subject of magazine advertising, which is much higher grade and more
suited to such books of quality. There are many distinctly literary
publications, the subscribers to which are always searching for books
of a fine type--an interested clientele who will read advertising
pages rather thoroughly, and gladly pay good prices for good books.
Small advertisements--perhaps a page of small advertisements of good
books--in a magazine of this class will bring returns, especially if
the books have been well reviewed. There are also trade journals,
which go to the booksellers, and in these the publisher must announce
his new issues well,--describe them thoroughly, and give some idea of
what he intends doing in the way of energetic general advertising. The
aim of this is to influence booksellers to increase their orders.
These few paragraphs only scratch the surface of a broad subject of
extreme interest. Each publishing firm has developed through its
experience its own principles of the psychology of public opinion, its
own idea of the qualities a book should possess, and its own way of
getting at the people. Results are frequently so surprising that one
is inclined to class publishing among the games of chance. It is
certain that everybody cannot make a success at it, and there is no
doubt that it requires a definite endowment of genius.
There falls to the publicity department the writing of a great many
letters,--numbers are in answer to questions concerning books and
authors, but by far the larger number are in the nature of circulars.
The personal typewritten letter or the printed typewritten letter that
masquerades as such, has a power equal to a hundred circulars. It
claims attention at once, if it does not declare itself an
advertisement on the outside, where a printed circular gets swept into
the waste-paper basket unread. It's expensive--about three cents a
letter if done properly, but when there are special ends to be
accomplished, such as calling the attention of the clergy to a novel
that would suggest sermons, or the members of an Audubon society to a
book on birds, it is the surest and most profitable method.
It is especially in a mail order or subscription book concern that the
circular letter is of most use. The expensive sets of such concerns,
and the large profit figured on them, justify such a costly method of
publicity. It is generally made more expensive by the enclosure in the
envelope of return postal cards and other printed material.
This subscription business is a business by itself and conducted quite
differently from average publishing. The advertising is lavish, and
the underlying principle of it is, that the prospective purchaser
wishes a complete description of the wares. Attractive premium, and
short-time low-price offers are always made, and the endeavor is to
get the prospective customer to permit the set of volumes to be sent
on inspection, reliance being held in the ability to make him keep
them through the real quality of the books, assisted by a series of
"follow up" letters enlarging upon the virtues of the set. Lists of
names are circularized, and "follow up" letters used here also to
bring orders.
An important form of publicity is that which has grown up as a result
of the interest shown by readers, especially in America, in the
personality of authors and the desire to know what is happening in the
world of books. This very natural and legitimate curiosity affords the
publisher a chance to push his products forward in an unobtrusive way.
Because it is to all appearances unbiased, it wields quite a deal of
influence, especially in building up the reputation of an author.
Every paper that pretends to any literary standing prints regularly or
occasionally a column of Literary Chat, in which is given brief news
of authors and books. There will perhaps be a humorous anecdote of the
author of a prominent novel, a brief summary of a book shortly to be
issued, some comment by a well-known person on a well-known book, a
biographical sketch of a new author, a telling extract from a book of
serious value, a note that "The Return from Davy Jones" is in its
_n_th edition--all of it really news and of interest. Some newspapers
write their own chat, but the majority print, with small alteration,
such as is furnished by the publicity departments of publishing
houses, which send out weekly or monthly printed or typewritten sheets
of such brief items. In this way Donan Coyle as the author of "The
Return from Davy Jones" is kept before the public. The public also has
a legitimate desire to know something of the appearance of the author
of a popular novel or important books of essays, and the newspaper
reviewer frequently wishes to print a portrait with his review. Here
the publicity department steps in and helps him, by furnishing
suitable electrotype portraits upon request, and not infrequently, by
sending out proofs with interesting notes, suggests the use of the
portrait. The relation between a literary editor who wants to print
the book news and a manager of publicity is a mutually beneficial one.
If they cooeperate thus, they can be of great assistance to each other,
and in the exchange each one gets value received. By a thousand little
methods and devices the person in charge of publicity can furnish
desired information and get this undersurface publicity, and by
putting out _bona-fide_ news and really good stories about them, bring
even his lesser light authors into prominence. In this field, as in
all others, the well-known authors advertise themselves and set up a
demand for publicity.
The financial end of Publicity is full of complexities. The question
of how much an expenditure per volume is warranted is one that cannot
be answered generally. There are many limiting and defining
considerations. First of all, the book itself. If it is the kind to be
a "big seller," a risk can possibly be taken on a larger advertising
investment than would be warranted in the case of a good book of finer
quality and limited appeal. Certain books of coarser, more obvious
qualities have a large public if it can be reached. In such cases an
exceptional effort will bring exceptional returns. By the risk of a
large advertising outlay the firm may get big profits; while a flat
failure, because the large, non-book-buying public had not been
reached through newspaper and lavish poster advertising methods, might
result if only a few hundreds were spent. Judgment of the finest kind
is required here, and it cannot always decide rightly.
How much to spend depends essentially upon the book, and there is no
hard and fast rule. Books have been known to reach their public and
reach good sales at an advertising outlay of about one cent per copy.
Others have had fifty cents per copy sold spent upon them, and fallen
flat.
The publishing business is not one in which there are great profits,
and the margin between the cost of manufacturing and the wholesale
price is small. This small amount must furnish the author's royalty,
the advertising appropriation, the publisher's cost of doing business,
and his profit. It can be seen then that the amount of royalty paid
on a book in a certain degree rules the amount of advertising that
can be done,--the publisher and author are, in a measure, partners,
and if the author demands a large royalty, he thereby cuts down the
amount the publisher can afford to expend in advertising his book. The
larger the appropriation for advertising, the larger the chance for
increased sales.
It is difficult to make any generalization on the amount that should
be devoted to publicity. Taking the $1.50 novel as a standard, it
might be said that figuring in all kinds of publicity--newspaper,
magazine, circular, literary notices, etc.--from ten to twelve per
cent of the wholesale price on the first edition of 10,000 would be a
liberal allowance. On more expensive volumes, handled as subscription
books, a much larger proportion would be the rule. On new books other
than fiction, where the sale could not be expected to reach more than
a few thousand, there would be no business justification in spending
so much. Such books have more or less to make their own way.
Publicity is an essential part of the publishing business, and the
breadth of its field, as well as the proper way to apply its
influence, is beginning to be more correctly understood. Fortunately,
for all concerned, the author as well as the publisher and the
book-buying public, it is a power that can work only for good, and in
a good cause. It hastens the fame and the sales of a really good book,
but its power with a bad book is very small indeed. One fact has
developed from the thousands of book advertising campaigns, and it is
this--that you cannot force a really worthless book down the throat of
the American reading public however much money you put into
advertising. You may create a big sale for a very light and frothy
story, with little to recommend it from the literary critic's point of
view, but you can be sure, if it succeeds, your novel has certain
positive, if rather superficial virtues, either in the story, in the
local color, or in the method of telling. And when one contemplates
the huge success of Mrs. Humphry Ward's and Edith Wharton's
distinguished novels, one is obliged to accept the comforting
conviction that the reading public of this country knows a good book
when it sees it.