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Adventures in Writing, Reading & Book Culture

How to Host a Reading of Your New Book

Perhaps the most difficult part of hosting your book-launch reading is finding an amenable bookstore owner. Some don’t have the space, or the wherewithal to help you; some don’t trust that there could be so many people in one small space and, you know, THEFT; while others are more than welcoming and only want to know how many people you can possibly bring in (and if they have enough chairs!).

You want a bookstore owner who doesn’t want a lot in return. I’m not talking about your taking the cheapest approach to marketing your book. And performing by reading from your own book is cheap! After all, you want to have your prose heard, because that’s one of the best selling points.

So look at book signings/readings this way: by allowing you to read from your novel to a group of people (often friends, family, colleagues, for starters), the bookshop owner gets people into his/her store; it’s a partnership.

I’ve found, in fact, that most bookshops have this no-pay or low-pay policy intact. For instance, this Friday I’m reading from my new novel at one of Prague’s English-language bookstore, Shakespeare & Sons. I spoke with the owner about the reading for all of five minutes. He’s up on these things, and, as I have books in his store already (and in his branches in Cesky Krumlov and Berlin), there was in fact no need to draw up a contract. This has not been the case with other owners, but nevertheless, the relationship was always clear, and a percentage of book sales during the event went to the “house” (in this case, 10% of my take for the night).

Also, make sure whether it’s okay or not to serve snacks, wine, or food (wet grapes and cheese are a tough sell when people are walking around handling books; but pretzels go well with white wine and soft drinks). I serve wine after I read; this gives people something to do/talk over while others wait on line to have me sign the book. It’s always fun to people, for a change, to walk around a bookshop with a friendly libation in hand!

Once you have the place, the space and the date, it’s time to get the word out. I use a variety of methods, which only partly include online social media. Firstly, I print miniature posters that can easily be tacked up in bookshops, community center bulletin boards, library bulletin boards, and in coffee houses well known for backing writers/poets/artists.

Next, I write a letter of invitation to send via email to close friends, family, and colleagues (in my case, also to students who like to read and know that I’m a writer). In the letter I suggest they come with a friend, or better yet, two friends. Most bookshops have an online events calendar, for which I provide written copy (What, Who, Where, When, Why) and a photo of my book jacket. I also make posts online at local arts/public events sites and through a weekly newsletter that my school sends to teachers and staff. Finally, I’m sending out invitations through Facebook to my friends whom I know to actively read, and are interested in what I do (there’s no point to send invitations to “friends” who certainly cannot/won’t come and don’t care what you’re up to).

But this is just the logistics of getting the venue and people to learn what’s up. What about the excerpt from your book that you’ll read?

Maybe this is the most important part of the event itself. You want to, therefore, choose a scene (or two) that show the main character(s) in a way to highlight who they are, why they’re important, and what they want (in life and through the events that make up the story). Likewise, give your listeners something of the place in which the story happens. Your excerpt doesn’t have to be the opening chapter, and only if it has all of these elements. Otherwise, find something a short way in, where things are happening of a dramatic nature that are actually taking place in the middle of something (not at the beginning or end).

And … don’t read longer than 20 minutes, if you can possibly help it. Our modern day attention spans, toward listening and being spoke to and read to, are not terribly long. But if you’ve chosen a strong part of the story, people will hang with you. Once you have that 6 or 8 pages, practice reading, practice your gestures, practice making eye contact. The last thing you need is to stutter and mumble and basically botch the chance to give your story its best showing.

Finally, read something that leaves your listeners wanting more. If they want more, then the ones who were on the fence about buying the book as they sat down, will be reaching for their wallets when they stand up.

Good luck!


What Beauty is my newest novel, a story of art, obsession and ego. Read an excerpt here. It’s available as an ebook, too.

The Village Wit (2010) is a humorous and sometimes dark odyssey through village life, love’s fall, sexual politics, and that place where memory and modern love intersect. Read an excerpt here. This book is also available as an ebook.

Book Promo Work is all about CREATIVE THINKING

Promoting your indie book today, be it self-published or with a small-press, is made much easier through the use of home printers, friends & family, the internet, and a lot of creative energy. We know this. Now how to put it all to effective use?

That question brings up a famous quote:

Half the money I spend on advertising is wasted; the trouble is, I don’t know which half. — John Wanamaker

This is never so true than for advertising (promotions) for art. The fact is, without a big budget, you won’t reach many of your potential readers. On the other hand, many of your potential readers don’t give a hoot for advertising. It’s their interests that you have to get at.

For low-budget promotions, I’ve utilized bookstores, libraries, and friends who are eager to help by dropping in at their local bookstore & library to distribute a small poster announcing the book’s launch, and handbills that can be easily set out on counter tops, tables, and windowshelves (along with the other promo stuff), as well as tacking these up in appropriate places.

The up side of this promo work is its low cost and “artistic feel” — a decent printer can churn out hundreds of each for little cost. If you can find a cheap pro printer that does cheap-o flyers, all the better.

But what really must be done well is the design. First off, your book cover and title must catch the attention of your potential reader. Secondly, your copy and/or blurb must be short enough to see-it-all-in-a-glance, and, gripping. I don’t know about you, but handbills for new books at bookstores and libraries are what catch my attention, often more than the spines on the shelves. Simply put, my attention is focused on that one book, whereas the dozens of spines & titles on a bookshelf that are in my field of vision often blend together. Only the most intriguing title moves me to raise a hand and pull out the book.

But a handbill — or well designed bookmark — has the chance to sell me the book with its cover art, a blurb, a review quote, and even (on the back of the handbill) a short description or even excerpt from the book.

This is guerrilla marketing, no doubt, but it is your book, and that should help you make yourself interested in doing the best job possible. This, and, the triple-digit costs of a thumbnail-size advert in BOOKFORUM, NYRB, or on


What Beauty is my newest novel, a story of art, obsession and ego. Read an excerpt here. It’s available as an ebook, too.

The Village Wit (2010) is a humorous and sometimes dark odyssey through village life, love’s fall, sexual politics, and that place where memory and modern love intersect. Read an excerpt here. This book is also available as an ebook.