What do you need to know about marketing your book in 2024? with Kathleen Schmidt

Last year, I came across an essay called “Book Publishing is Broken” by today’s podcast guest, Kathleen Schmidt .

Using her decades of experience in book PR & strategy, Kathleen laid out several reasons why traditional publishing fails writers. (If you haven’t already read that post, you’ll get to hear Kathleen’s reasons in our interview).

And the essay really stood out...not just because Kathleen presented solutions to the problems she diagnosed...but also because her perspective was clear-sighted, well-informed, but also so honest, direct, and personal.

I’ve been hooked on Publishing Confidential , Kathleen’s Substack newsletter, ever since. With over 5,000 subscribers, I think of it as one of the must-reads for any writer looking to understand today’s publishing landscape.

In our interview, we talk about that landscape, about the utility of hiring an independent publicist, and the value of creating work that reaches beyond traditional media outlets.

We also discuss why memoirs are one of the hardest categories for agents to sell right now, and what authors can consider to make their books more marketable.

Kathleen Schmidt is the Founder and President of Kathleen Schmidt Public Relations, a boutique firm specializing in branding, PR, marketing, consulting, and business strategy for authors, publishers, and booksellers. She also writes and publishes the Publishing Confidential newsletter.

Warning: this episode includes a brief mention of suicidal ideation. If you or someone you love is struggling with a mental health crisis, you can contact the National Suicide Prevention Lifeline at 1-800-273-TALK (8255). (In Spanish, dial 1-888-628-9454).

Some of my biggest takeaways:

Publishing too many books and lack of marketing support are primary reasons why the industry struggles.

Publishers produce more books than the market can sustain, often neglecting to back many with substantial marketing efforts. "They publish far too many books," Schmidt states unequivocally. It's a perplexing situation that challenges authors and industry insiders alike. The ramifications of this are profound—not just for the discoverability and success of individual titles but for the long-term sustainability of publishing entities themselves.

Schmidt expresses her consternation over the lack of direction regarding advances and acquisitions: "It's all kind of garbled and I feel like if you're not able to pay authors an amount that they can live on, what are we doing?" These pivotal industry dynamics are not just numbers on a spreadsheet but represent the livelihoods of creatives whose stories shape our culture.

Authors need to participate actively in the marketing and publicity of their books, using strategies tailored to their specific audience.

In the digital age, a robust social media presence is often considered non-negotiable. But where should authors concentrate their efforts? Schmidt advocates for targeted strategies—"find where your audience lives when they're not reading books"—and identifies threads and Instagram as effective platforms. However, she aptly recognizes that "every author should do" does not mean straitjacketing all writers into a one-size-fits-all approach. Instead, authors need to be authentic, engage with their readers, and leverage digital surrogates when necessary to carry their message.

Schmidt's distinction between pitch-focused publicity versus sales-driven strategies underscores the complexity of book marketing in the current landscape. "I am the publicist who thinks about how are we going to sell the book?" she poses, aligning author success with commercial viability and practical application.

Memoir faces challenges due to market oversaturation and authors should consider additional angles to be sellable.

The realm of memoir publishing is undergoing profound change, leaving many authors pondering the fate of their personal stories. With the market oversaturated by similar stories, distinguishing a memoir requires more than just a riveting life story—it requires a unique angle or an additional layer of value such as the 'Memoir Plus' concept.

Schmidt pushes authors to grapple with the real question: "is it a book or is it an essay?" This discernment is crucial in a world where the distinction between public sharing and a publishable memoir is increasingly blurred by the constancy of social media narratives. The trend now demands memoirists to consider if their life narratives are enough to stand alone as books or if they are better shared in smaller, perhaps digital, formats.

"Know who your audience is. Be very specific about that ...