From Pages to Pixels:
Promoting Books in the New Media Environment
Anne Rogers Smyth
A Capstone Project
Presented to the Faculty of the School of Communication in Partial
Fulfillment of the Requirements for the Degree of Masters of Arts in Public Communication
Supervisor: Prof. Lauren Feldman
April 21, 2010
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COPYRIGHT©
Anne Rogers Smyth
2011
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ABSTRACT
This study seeks to determine best practices and identify opportunities for trade book promotions
in an evolving marketplace. A review of academic literature and existing research highlights
historical trends underlying the publishing industry; market research and trade articles provide
insight into the technological and conceptual forces shaping the industry as of 2011; and finally,
a comparison of the rise to fame of two bestselling trade books in 2002 and 2009 reveals subtle
changes in the promotional process. Evidence suggests that an increasingly social, interactive
media environment is impacting the diffusion of trade books in the marketplace. With the
progression of online, digital and multimedia technologies in particular, a more personalized,
decentralized and engaging approach to promotion could be the future of trade book industry.
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TABLE OF CONTENTS
LIST OF TABLES.........................................................................................................................................v
LIST OF FIGURES ......................................................................................................................................vi
CHAPTER ONE: INTRODUCTION........................................................................................................ 1-4
CHAPTER TWO: LITERATURE REVIEW.......................................................................................... 5-31
Understanding the Publishing Industry:
A Retrospective: Major Trends, Patterns and Themes ..................................................................... 5-9
From the Inside: Internal Processes, Networks and Players ......................................................... 10-14
External Influences: Socio-Cultural Factors, Opinion Leaders
and the Word-of-Mouth Phenomenon .......................................................................................... 15-21
2011: Transformation and Digitization......................................................................................... 22-31
Changing Formats........................................................................................................ 22-26
Changes in Marketing and Promotional Activities...................................................... 27-31
CHAPTER THREE: CASE PROFILES ............................................................................................... 32-35
CHAPTER FOUR: CASE ANALYSIS ................................................................................................ 36-68
Traditional Media Reviews and Articles ...................................................................................... 37-44
Blog Presence................................................................................................................................ 44-47
Social Media Presence and Community Building ........................................................................ 47-54
Third-Party Endorsements ............................................................................................................ 54-56
Author Accessibility ..................................................................................................................... 57-61
Publisher Efforts ........................................................................................................................... 62-66
Channels of Distribution/Online Availability ............................................................................... 66-68
CHAPTER FIVE: CONCLUSION ....................................................................................................... 69-71
Limitations ..........................................................................................................................................71
WORKS CITED ..........................................................................................................................................72
Appendix A: Media Coverage for The Secret Life of Bees.................................................................... 75-77
Appendix B: Media Coverage for The Help.......................................................................................... 78-79
Appendix C: Blog Coverage for The Secret Life of Bees ............................................................................80
Appendix D: Blog Coverage for The Help ..................................................................................................81
Appendix E: Points of Purchase ..................................................................................................................84
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LIST OF TABLES
Table 1: Summary of Article/Review Coverage of the Books ........................................................1
Table 2: Online Availability of the Books.....................................................................................67
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LIST OF FIGURES
Figure 1: Survey of Top Marketing and Promotional Activities for E-Books: .............................27
Figure 2: Breakdown of Percentages in each Category (Article Review).....................................39
Figure 3: The Help Author Facebook Page ...................................................................................49
Figure 4: The Help Book Facebook Page ......................................................................................50
Figure 5: The Help Page on Goodreads.com .................................................................................52
Figure 6: Sue Monk Kidd Author Website....................................................................................57
Figure 7: Kathryn Stockett Author Website ..................................................................................58
Figure 8: The Help on Penguin.com (USA) ..................................................................................64
Figure 9: Breakdown by Format (Online Points of Purchase) ......................................................68
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INTRODUCTION
Publishing is changing. Every day the industry gains in complexity. The “book” as we know it is
now an elusive concept, transcending its physical definition as a collection of bound pages. Today content
comes in a variety of formats, integrating multimedia components and engaging readers in novel
interactive experiences. While some decry digital media as the death knell of the industry, others herald it
as the latest revolutionary wave.
Whichever direction the trend takes, one can be certain that business as usual is a thing of the
past. A once linear supply chain has become a tangled web, with competing distribution channels and
retail outlets further convoluting the network. Not only is content accessible across a growing number of
media platforms, but it can also be downloaded and managed via an array of portable devices, such as the
Apple iPad; the Amazon Kindle; and Barnes & Nobles’ Nook. Our media hungry nation expects nothing
less than anytime, anywhere accessibility.
At the crest of this new age, the advantages and challenges faced by the industry are manifold.
Though electronic options lessen the costs of production and distribution—thereby enhancing supply
chain speed and efficiency—the proliferation of players and channels in the marketplace creates an
unstable industry atmosphere. Questions of industry standards, interoperability, price wars, and piracy
now plague book publishers, promoters and retailers alike. Additionally, the explosion of free
entertainment sources in the music, movie and gaming sectors exacerbate the challenges faced by
booksellers today.
Still, despite the fluid state of the industry, the audience for books remains. In fact, a 2008 study
released by the National Endowment for the Arts found that literary reading was on the rise for the first
time in the 26 years of the NEA’s periodic survey of U.S. adult participation in the arts. The study further
concluded that the absolute number of literary readers had grown significantly, to the highest absolute
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number of literary readers in the survey’s history with 16.6 million adults (Gioia).1 As book production
rates climb and the ease of accessibility expands, readership potential will continue to flourish.
The question that remains, then, is how to advocate the value of a particular book in an
increasingly flooded and complex marketplace. What distinguishes a bestseller from the abundance of
competing options? Or, is the concept of the “bestseller” becoming obsolete altogether? Could the
business model be changing—broadening perhaps from a few annual blockbusters to a diverse and wide
reaching spectrum of titles? Or is this simply the start of an even more cutthroat race to the top?
Through the review of existing literature and a comparative case study analysis, this study aims to
determine the reality behind the hype. Drawing on historical trade standards, recent marketplace trends,
and up-to-the-minute technologies, it is an attempt to discern the most effective marketing strategies in
today’s evolving literary landscape. The inherent challenge of book promotion—that each book is a new
product with a unique message—means that marketing strategies can be many and varied. Meanwhile, the
diversity of the industry, the increasingly fragmented market and the rise of non-traditional formats all
multiply the magnitude of possibility. Add to that the task of navigating an exploding digital market, and
book promoters today find themselves in the midst of chaos. The goal of this study is to develop the
insight and criteria—based on past and present research—to create a roadmap of sorts for these marketers.
The digital transition will be a central element of the study throughout. Though digital first made
a splash in publishing back in the late 1990’s, it is only in recent years that the trend has truly become
manifest for books in the mass market.2 In its “Worldwide E-Books Market Size & Forecast Report”
Outsell Inc. projected the worldwide e-book market to grow at a compound annual rate of 42% from 2009
to 2012 (a staggeringly robust number in comparison to years prior) (Trippe, Guenette, and Goldman 14).
Moreover, in January 2011, 1,300 members of the trade publishing industry turned out to New York for
the second annual Digital Book World Conference. There, publishing behemoth Random House, Inc.
announced it had set its sales benchmark for 2011 at 50/50 between print and e-book sales--further
1
In the report, “literary” reading refers to the reading of any novels, short stories, poems, or plays in print or online.
Simon & Schuster began digitizing books as long ago as 1998, and Stephen King released an exclusive e-book,
Riding the Bullet, in 2000 (Simba Publishing Report 15)
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evidence that digital is not just becoming an integral part of the product mix; it’s rivaling its traditional
print counterpart (Milliot).
Given the rapidity and currency of this evolution, the study uses two contemporary book
campaigns for its comparative case study analysis. While a historical perspective provides the
foundation—setting the stage with a look at past industry trends and patterns—a modern focus brings
research up to date with the booming technologies and developments. Moreover, by selecting one book
from the first half of the decade (2001-2006), and another from the latter half (2006-2011), the study
seeks a longitudinal view of the book market. The promotional efforts and tactics that aided each book’s
rise up the bestseller list will be compared and contrasted to reveal significant trends.
Specifically, the study will survey new and traditional media to identify changing patterns in
coverage; examine distinct promotional efforts by the author and the publisher; analyze third-party
endorsements both within and outside of the literary industry; and, finally, explore changes in the sales
and distribution environment. The comparison focuses on two works of trade fiction—The Secret Life of
Bees (2002) and The Help (2009) in order to minimize the confounding influence that actual political,
social or other commentary might have on a book’s success in the contemporary marketplace. The
successive rise of these acclaimed Southern literary novels should be a direct reflection of publishing’s
turning tides.
It should also be well understood that marketing, for its part in the process, does not happen in a
vacuum. It is contingent upon the product, subject to its surroundings, and inevitably fails or succeeds at
the hands of its audience. No study can eliminate the confounding influence of these factors, but careful
and methodical analysis can at least begin to identify the pros and cons of specific strategies, tactics and
implementations. Recognizing that there is no silver bullet for book marketing, the study seeks only to
establish some guiding principles in today’s increasingly frenetic marketplace.
At the core, what’s being addressed is a time-honored question in search of new answers. As
Lewis Coser puts it in The Culture and Commerce of Publishing, “getting books into the hands of readers
has been the most vexing aspect of the publishing industry at least since the invention of movable type”
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(200). Yet year after year, a select few works inevitably skyrocket to the top, selling millions of copies
and turning the heads of even the most apathetic consumers. This study continues to investigate how.
Such an entrenched pattern is not just by chance, but as the industry faces new frontiers the game could be
changing. It’s time to turn the page on a new chapter for publishing.
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LITERATURE REVIEW
Section I. Understanding the Publishing Industry: A Retrospective
Major Trends, Patterns and Themes
The Spanish philosopher Ortega y Gasset once wrote that the best clue to the study of European
history was “eadem sed aliter, the same thing but in another way” (Coser, Kadushin and Powell 17). For
publishing, this idea holds true across decades of ebb and flow. In fact, one could argue that the history of
publishing is really just the recycling of a handful of major trends. But on a larger scale the trade has
transformed into something that today might shock its earliest predecessors. With each new cycle comes
new changes, and it is in this way that the history of the industry—much like the industry itself—is an
amalgam of repetition and revolution.
In the evolutionary sense, publishing has come a long way from the cottage industry of its
dawning—in which the production of a book involved only an author and a bookseller-printer. Conditions
would change drastically as rising literacy rates widened the market and supply-side technology grew
more sophisticated. By the late eighteenth century publishing was a mature market enterprise—though a
dynamic one that would transform alongside the world around it. Editors, publishers, literary agents and
retailers entered the equation. No longer did a writer simply pen his masterpiece and beseech a printer to
bring it to life; a complex protocol of authorship, subsidiary rights, sales tactics and profit margins
emerged. The complexities of society and economics seeped in, demanding expansion and adaptation.
Today, the trade is almost indefinable—both structurally and functionally. It is highly
differentiated and the most specialized of all the media industries. It can be segmented by large and small
houses, trade or text, scholarly or monograph, or university press (though this study will focus on trade
publishing). Each sector seeks its own audience and utilizes different means for reaching it: the more
specialized and demanding the topic, the smaller the audience and the higher the price of the book in
general (Coser, Kadushin and Powell 54). Indeed, the decision to publish a book is accompanied by a host
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of questions and considerations—price points, print runs, time schedules, distribution—and the answers
differ with every project.
But despite this dynamism, many elements of publishing have emerged as cyclical trends in the
last century and a half. The push and pull between a commercialized core industry and a periphery of
disperse niche publishers has been ongoing. As early as 1843, stakeholders complained about the
standardization of the core industry, as one reviewer for the North American Reviewer wrote:
Literature begins to undergo the mutations of trade. The author’s profession is becoming as mechanical as
that of the printer and the bookseller, being created by the same causes and subject to the same laws.(qtd.in
Coser, Kadushin, and Powell 17)
Here, publishing becomes an automated process, where books are produced as mass commodities with all
the differentiation of a line of soap bars. As the market quickly became saturated, competition intensified.
It grew increasingly difficult to get books that were not ‘sellers’ in the public eye without an amount of
advertising, drumming, discounts and promotional tactics (Coser, Kadushin, and Powell 18). To offset
these expenses, publishers sought highly profitable bestsellers that would soon overshadow other books
of high quality but narrow appeal. In “The Commercialization of Literature” publisher Henry Holt sums it
up: “Hence the quest for the golden seller, the mad payment to the man who has once produced it, and the
mad advertising of doubtful books in the hopes of creating the seller” (qtd. in Coser, Kadushin, and
Powell 19). That was in 1905; yet today this Sisyphean cycle persists unchanged.
Similarly, the idea that publishing was in danger of being absorbed by the entertainment industry
was identified in the earliest days of the industry. Trade publishing in particular has almost always been
oriented toward the mass consumer market. In the 1940’s “The Fate of Writing in America” addressed
what the author saw as the “Hollywoodization of literature,” arguing: “many writers have found it most
convenient to adjust their conscience, their style and their themes to the dramaturgical conceptions of
Hollywood” (qtd. in Coser, Kadushin, and Powell 16). In the youthful days of publishing, a hardcover
trade book’s profit was determined by the number of copies sold to individual readers. Now it is
determined by the sale of subsidiary rights to movie companies, book clubs, foreign publishers, or
paperback reprint houses.
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The “Fate of Writing in America” author—novelist James T. Farrell—later went on to warn
against the potential dangers of Wall Street becoming interested in the publishing business as well: “Wall
Street control will mean that Money, Pure Money, becomes the boss. In other words, there will be
absentee ownership” (qtd. in Coser, Kadushin, and Powell 19), meaning that writers, agents and editors
working on the ground would be ruled by whichever corporation controlled the purse strings overhead.
The subsequent emergence of chain bookstores compounded Farrell’s fears, as he imagined new power
retailers driving small bookstores out of business and shackling the industry to the financial resources of
corporate America forever (Coser, Kadushin, and Powell 20).
Farrell’s concerns spoke to yet another trend in publishing—the tendency toward mergers and
concentration. As publishers sought to achieve higher profits—marketing fewer books in larger
quantities—the once decentralized cottage industry began to merge and smaller independent companies
were absorbed by powerful media conglomerates. In a sense, the nature of the book market demands this
structure. Trades that (a) depend on individually created products that appear sporadically, (b) do not have
sizeable capital investment in plant equipment or product development (given that each book is a new
venture), and (c) face highly unpredictable markets require the efficiencies often gained through mergers
and acquisitions. At the end of the day publishers, like any business, must protect their bottom line.
But public taste is fickle and inconsistent, with little regard for the rules of economics. As such,
publishers face two choices: (1) to maintain independence and follow the chaotic, less profitable whims of
intuition and taste, or (2) to sell out to a more stable, commercial-driven enterprise. A study on the
popular music industry by sociologists Richard A. Peterson and David Berger suggests that industries
involved in popular culture (like trade book publishing, as will later be discussed) alternate between
periods of competition and oligopoly. The periods of concentration lead to fewer but significantly larger
rival firms while competition among the smaller, peripheral firms fuels the cycle. Economists further
argue that the larger a firm is, the more reluctant it is to take chances (Kadushin, Coser, and Powell). This
is widely reflected in the music industry, as Petersen and Berger posit that times of high concentration are
likely to also be periods of creative stagnation.
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Undoubtedly, the twentieth century was a period of concentration for trade book publishing. At
the turn of the century, publishing in the United States was dominated by just five empires: Bertelsmann,
Holtzbrinck, Pearson, Rupert Murdoch’s News Corporation and Viacom (Epstein 11). Moreover, between
1986 and 1996, the share of all books sold represented by the 30 top bestsellers nearly doubled as retail
concentration increased. Within the same period, 63 of the 100 bestselling titles were written by a mere
six authors (Tom Clancy, John Grisham, Stephen King, Dean Koontz, Michael Crichton and Danielle
Steel) (Epstein 33). The million-copy sales of these name-brand authors solidified the positions of media
conglomerates as the goliaths of the industry and propelled book marketing into a full-fledged enterprise.
But despite the continued dominance of these superpowers, the rest of the industry continues,
albeit quietly and without much fanfare (Epstein 41). The periphery of smaller firms remains even today,
in an enduringly competitive market structure still characterized by relatively low entry costs. It is these
outliers who move into the territory vacated by the large trade houses in search of their blockbusters.
These small firms frequently pursue projects overlooked or cast aside by larger houses. They are the
saviors of indie titles and offbeat ideas. Most survive on low overhead and with small staffs; some are
only part-time operations. All are considered as literature enthusiasts devoted to their craft, who often
think and deal in symbolic capital rather than cash value.
Although the output of these small companies is only a fraction of the industry’s total, special
titles do come along and rocket up the bestseller list from these undeniably humble beginnings. In these
instances, the success of the house is often attributed to its ability to specialize. One independent
publisher explains:
“Because our resources are limited, we have to specialize, to make our imprint stand for things that concern
people these days—career-changing, parenting, health, solar housing, and the like. Few of our books are
returned unsold by bookstores, most become steady backlist sellers. We’ve had to let very few of our books
go out of print.” (qtd. in Coser, Kadushin, and Powell 46)
The niche positions of these houses are many and varied. Some focus on fad or “how to” books; others
are dedicated to social causes; some produce books of exceptional design and beauty (Coser, Kadushin,
and Powell 47). Regardless, the resilience of small presses ensures that there will always be an outlet for
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the unconventional.
But the periphery is not without its own thorns. While small houses are able to concentrate their
energies in ways that medium and large houses cannot, specialization can have crippling disadvantages.
Most basically is a lack of clout. An editor in chief for an indie house in Manhattan commented:
“Sometimes we just don’t have the resources or money to pay what an author asks for. It can be hard to
compete with the big guys. We’re like the farm team for the New York Yankees. We create the successes
for the big houses. We sign an author when he’s relatively unknown, and then next book time, the big guys
pick him up.” (qtd. in Coser, Kadushin, and Powell 48)
Once again, Pure Money wins the day, just as Farrell predicted. Small press victories are quickly
cannibalized by imperial profit machines, perpetually thwarting the little guy’s potential for growth. The
cycle persists as these small presses are unable to afford to develop marketing technologies outside of
normal sales and distribution channels. Often, it leads to the signing of distribution agreements between
large and small houses—one more contraction in the continued ebb and flow of the industry.
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Section II. Understanding the Publishing Industry from the Inside
Internal Processes, Networks and Players
With an understanding of some of the major trends in publishing at large—the commercialization
of literature, the integration of entertainment/“Hollywood” style values, and the friction between an
oligarchic core of corporate empires and a periphery of small indie presses—it is now time to look at the
motions going on within the publishing industry. The processes, the players and the products themselves
are all elements of the anomaly that defines book publishing—on the one hand constrained by the basic
principles of economics, and on the other hand defiant of standards in the unique quality of the product
offering.
Books, unlike most other goods, are unique in that they can be completely dematerialized. At
heart, publishing is simply the commercialization of storytelling, a craft that traces back to the roots of
humanity and holds the same quality even in its most rudimentary form. The book is a vessel for an idea,
and publishing just a mechanism for its diffusion—both are arbitrary. Storytelling as a craft will continue
regardless of the shape or form of the book and the state of the publishing trade, whether by word-ofmouth, electronic transmission, or any other means of interchange that should arise in the future (Epstein
1). So, given the malleability of the publishing industry, it is no surprise that its composition is difficult to
define in systematic terms.
Still, the common goal of the industry—to get books into the hands of readers—means that there
are basic organizational principles through which it operates. As this study is primarily concerned with
the world of trade publishing, it will focus on the standards within that sector. General trade publishing—
adult hardcover and paperback books—is the most publicized and talked about sector in the industry
(other sectors include college text and scholarly or academic). Trade publishing is further delineated by
certain genres—women’s historical fiction, detective stories, science fiction, etcetera—which tend to ebb
and flow in the cyclical pattern of the wider market (this will be discussed in greater detail in the review
of societal impacts on the industry).
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Trade books are considered “perishable,” meaning that trade publishing is known to have high
rates of turnover (referring to the amount of time a book spends on display before being filed away to a
back shelf). In general, the norm is for a book to debut in the more expensive hardcover edition for a
limited time, and then based on the book’s success, a number of more affordable paperback versions will
be released (Epstein 59). This is an entrenched routine, though many are critical of the accelerated
process in recent years. As mentioned, the rise of chain store retailers dependent upon the high-profits of
bestsellers led to increasingly high rates of turnover. When this phenomenon first became apparent, the
industry joke was that the shelf life of a book had fallen somewhere between that of milk and yogurt
(Epstein 14).
Essentially, this trend means that a hardcover book has a limited amount of time—usually about
six months—to make an impact (Epstein 59). Confidence on the part of the publishing house, media
attention and support from the rest of the industry will help a book’s sales immensely. Book marketing is
a unique matter in that, as mentioned, each book is a new product with a new message. While most new
mass-market products are introduced with the backing of hundreds of thousands of dollars worth of
market research and product development, to expend this kind of budget and effort on even ten books a
year would strain the capabilities of any publishing house (Coser, Kadushin, and Powell 201). Moreover,
few books are directed to a mass audience as the industry is highly segmented. Organized, systematic,
empirically based strategies for marketing have been rare (Coser, Kadushin, and Powell 203). Instead,
inspiration, intuition and experience are the driving forces behind these one-of-a-kind types of products.
But how does it all work?
The “peripheral” trade book market expects to sell between 7,500 to 40,000 hardcover copies of a
book, with a modest sale of first and second serial rights, translations and paperback editions. Meanwhile,
the core “blockbuster” market may involve sales in the hundreds of thousands just in hardcover, with the
simultaneous orchestration of mass-market paperback sales, and occasionally for fiction, a Hollywood
movie version (Coser, Kadushin, and Powell 212). This aspect of production is traditionally handled by a
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publicity, advertising and/or sales department within the publishing house, although it is not uncommon
to outsource promotion to an independent agency.
Before delving further into the sales process, it is helpful to take a quick look at how a book is
signed in the first place. This varies from house to house and among editors, but in general the process is
as follows: First, an editor acquires a manuscript from one of six sources:
(1) “Over the transom”—manuscripts sent in “cold,” without sponsorship of an agent or some other
personal recommendation
(2) Direct referral or recommendation from a person known to the editor
(3) Submission from an agent
(4) Discovery of a manuscript as a result of editor’s travels or networking activities
(5) Discovery of a topic or an author by reading newspapers, journals, or magazines
(6) The commissioning of a book because an editor’s evaluation of the market shows a need or a demand
for a particular kind of book (Coser, Kadushin, and Powell 129)
Although trade editors receive the largest number of “over the transom” projects, agents have been the
most important source of manuscripts for trade editors in the last few decades. Direct personal
recommendations are also considered a much more efficient way for an author to get published and for an
editor to screen books and projects (Coser, Kadushin, and Powell 133).
When it comes time to make a decision, editors admit to the growing importance of marketing in
publishing decisions—no doubt a consequence of the wider trends taking place in the industry at large.
One editor describes his apprehension regarding this fact:
“Marketing traditionally has been a kind of after-the-fact process. I have very mixed feelings about this.
There is a very big part of me that feels that this is how it should be, that the decision to publish should be
based on the merits of the work, and it’s the job of the marketing organization to try to marry the book to its
potential audience as best it can, and that a book shouldn’t be dismissed because marketing or sales people
feel it doesn’t have sufficient audience. If the book has enough intrinsic value it becomes the responsibility
of the marketing department to find a sufficient audience. On the other hand, one has to be intrigued with
our more scientific colleagues who ascertain ahead of time whether an audience exists….certainly, it’s a
hell of a lot safer, and I’m sure the success rate is astoundingly high compared to the traditional trade
system.” (qtd. in Coser, Kadushin, and Powell 141)
Whether an editor’s decision to sign is shaped by idealistic values, or more oriented toward the profitdriven marketing model, there is a general consensus on the basic variables of the decision-making
process (Coser, Kadushin, and Powell 144):
1.
2.
3.
4.
Editorial considerations—quality of manuscript, author, competition, copy-editing problems
Production—costs
Contract—advance, royalty
Marketing—audience, sales, price/suggested list price, and print run
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Other considerations include the reputation of an author within his or her profession, as well as among
general readers; the timeliness of the subject matter of the book; the lack of competition on the subject;
the potential sales rights; the commercial prospects of the book; and among other things, the ease with
which it can be promoted (Coser, Kadushin, and Powell 145).
Once a decision is made, it’s time for the promotional team to spring into action. If the book is a
literary work, the public relations department attempts to get literary opinion leaders and reviewers to
endorse the book. For both reviews and blurbs, the amount of time and effort the department spends on a
project is proportional to its enthusiasm for that particular book (Coser, Kadushin, and Powell 213). The
practice of sending advanced galleys (early print runs) is a time-honored method of prompting interest
and generating publicity. Book reviewers are continually deluged with advance galleys, many carrying an
assortment of give-aways—from T-shirts to candy baskets—in hopes of sweetening the offer (Coser,
Kadushin, and Powell 220).
For name-brand authors, the publisher’s task is nominal. In these instances, publishers need only
print the books, advertise the name, and distribute them to chains and other mass outlets—all routine.
Then, in this brand-driven marketplace, consumers will book it—so to speak—to the latest hot
commodity (Epstein 19). Such blockbusters easily gain media attention, and authors are readily
received—or even solicited—for appearances on local and network talk shows as well as cross-country
tours and book signings. This component of the promotional process makes “celebrity” status, topical
relevance and slick author-presentation critical factors in the marketing equation.
The content of the book also has some bearing on its visibility—the “sexier” the topic and the
more sensational the book, the more likely it is to peak media interest. This plays into the
“Hollywoodization” of literature described earlier. A work’s potential for television and movie tie-ins
boosts its promotion substantially, and such hype can build strong bonds between publishing and show
business. As of the 1980’s, one third of the movies produced each year were already based on published
books, and this number is only rising (Coser, Kadushin, and Powell 218).
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Another promo component is the appearance of the book itself, though this is being impacted by
the rise of e-readers and digital books. But when it comes to print, some editors claim the cover is one of
the most important single elements of the book’s eventual sale. A director of Fawcett Books said:
“You’ve got to be drawn to it immediately. It’s an impulse buy. I look at it as a little box of Tide up there
on the shelf for the choosing, alongside all of the other soap flakes” (qtd. in Coser, Kadushin, and Powell
219). In general, publishers would agree a book cover should be eye-catching, provoking and memorable.
This is perhaps most pertinent for new and unknown authors, whose books forgo extensive marketing
campaigns and must rely on the whims of browsers and point-of-sale purchases. Based on this approach,
marginal differentiations in appearance are critical.
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Section III. Understanding the Publishing Industry: External Influences
Socio-Cultural Factors, Opinion Leaders, and the Word-of-Mouth Phenomenon
At this point, the configuration of the publishing industry as a whole and the relevant internal
processes and patterns have been examined. But what larger trends shape the art of book selling? The
book market is a dynamic environment; surely the fluctuations of society, politics, the economy and other
spheres have some influence on its livelihood. While it is difficult to isolate and identify these effects, a
number of approaches have been outlined for studying the impact of external forces. The following
approaches are based on a study of the sociology of literature conducted by Karen Griswold in the 1990’s:
1.
2.
3.
4.
The straight-reflection argument, in which literary content is a direct reflection of society (in terms of
trends and fads based in popular culture)
The argument for publishing, which emphasizes the role of promotion and depicts publishers as media
gatekeepers who cultivate enthusiasm for selective books and genres
The argument for literary culture—the constellation of institutions, ideologies symbols and codes that
mediates literature and society. This is a value or content-oriented approach in which an entrenched
literary culture—defined by the historically revered authors, classic works and general attitudes of a
society—are reflected in its literary productions (Griswold 462).
The argument for systems of literary production and reference—which stresses the role of networks in
the book business. In other words, the structure of the industry in terms of key players (editors, literary
agents etc.) and networks (reviewers, retailers) and their relationships dictates what is published and
what is not.
Though each argument holds value in the big picture, the most important implication of the study is that
there are a variety of ways to view the forces at play in the industry. Contemporary literature is not
necessarily a mirror image of the cultural climate of the day, nor is it defined wholly by the mechanisms
through which it is produced. The process is interactive—a system which thrives on the input of countless
variables.
The forces shaping news production have been similarly studied, and the application of these
ideas in the publishing industry will be considered throughout this study. Some scholars suggest that
news coverage is not a reflection of reality, but rather a manufactured product, determined by a hierarchy
of social influences ranging from the macro-level (economic, cultural, and ideological variables along
with ownership and industry trends); mid-range (organizational routines, professional norms like
journalist role perceptions and source strategies); and, individual-level (socio-economic, political, and
psychological orientations of journalists). This process is referred to as agenda building (Nisbet 1).
16
Research on agenda building further suggests that mid-range factors like financial, political, and
time pressures force journalists to routinize their daily work by relying on news values such as
prominence, conflict, drama, proximity and timeliness. Journalists also rely heavily on storytelling themes
and narrative to package complex events and issues and to make them appealing to specific audiences
(Nisbet 2). News values will play an important role in this study in terms of the coverage—as well as the
quality of coverage—of certain books in the news media.
Moreover, the news values of storytelling themes and narratives are directly reflected in
contemporary literature. A surge in narrative works published at the turn of the twenty-first century
suggests that storytelling is fusing with popular culture to drive literary output. In a time when political
and spiritual leaders were becoming hard for the public to trust—amidst rife debate about war, patriotism,
racism, sexuality and religion—auto-biographical representations by celebrities and by “ordinary”
Americans have escalated this century. Thousands of biographies and memoirs are in print; the poignant
memoir Tuesdays with Morrie (released in trade paperback in 2002) was a staple of the bestseller list for
years.
In 2005, James Frey’s memoir about his experiences in an addiction rehabilitation center shot up
the charts with Oprah’s endorsement. Then, when in 2006 an expose suggested that key parts of Frey’s A
Million Little Pieces had been fabricated, the public responded with outrage. The fact that he had peddled
this deeply personal memoir as truth felt like the worst kind of duplicity. Oprah called it a “social
betrayal” and invited Frey back on the show for a public apology. What this singular incidence represents
is the wider importance of self-representation in America. According to Pop Life: An Introduction:
“In a nation where democratic participation in public elections is very low, self-representation and the
consumption of other people’s identities in popular cultural has become central to how Americans are
getting, distributing and consuming information. Making and consuming narratives about individual lives
and experiences has become a way to be democratic outside of democratic institutions and to make identity
into a commodity that can be bought and sold” (Rak 328)
Though James Frey hoodwinked America—earning widespread public scorn—the nation continues to be
fascinated with the accounts of “people like me.” In addition to the outpouring of auto-biographical
works, this is reflected in the rise in reality television, featuring the lives of ordinary people as well as
17
celebrities; documentary films rivaling fiction on television, in theatres and at film festivals; millions of
personal blogs and many more “vlogs” (video blogs) on YouTube; social networks—like Facebook and
MySpace—emphasizing the connectedness between participants; and, online virtual worlds like Second
Life, or wiki interfaces such as Wikipedia, which rest on a democratic notion of community. In these
communities, knowledge is meant to be shared and individual lives (and opinions) contribute to a whole
society and/or greater common knowledge (Rak 328).
The manifestations of popular culture in the publishing world are only a small part of the
equation. The societal trend toward authenticity and sharing undoubtedly pervaded literature, though
auto-biographical accounts were no novelty to the industry. But there were a number of other factors at
work. Commercialism has reigned across time, and the accounts of ordinary people still needed the
salability aspect, perhaps even more so than any other genre. Frey’s memoir certainly had the allure of
drama, not to mention the endorsement of Oprah (the impact of which will soon be discussed). Tuesdays
with Morrie too was a tragedy readers could not pull away from; the book had a promise of wisdom and
humility that transcended its literary value. What’s more about these books is that, as part of a broader
cultural framework, they were a doorway to a shared experience, whether it be through identifying with
the author at the individual level, or thrashing out the highlights with friends. As Rak mentioned, it was
the democratic notion of community building that prompted the trends in literature, television, film and
other media productions, and it is this sort of meaningful influence that will have an enduring impact.
Rak’s argument cites distrust in politics and spiritual leaders as a key stimulating factor in the rise
of biographies and memoirs. This climate of skepticism is oft noted and attributed with a number of
outcomes, one of which is the emergence of what scholars refer to as “navigators,” “opinion leaders” and
“influentials” among other names (Sosnick, Dowd, and Fournier). This study will use the term opinion
leader. In The Influentials authors Ed Keller and Jon Berry make a strong case for the theory that one of
every 10 persons tells the other nine how to vote, where to eat, and what to buy (Sosnick, Dowd, and
Fournier 182). While Americans’ faith in traditional sources has diminished, they are equally bewildered
by the mass of messages thrust at them on a day-to-day basis. More than ever, the theory goes, people are
18
seeking a gut check from friends, family, and acquaintances before making major decisions on everything
from jobs, finances, and family crises to voting, buying and where to go to church (Sosnick, Dowd, and
Fournier181).
So in spite of the glut of resources available via print, broadcast, digital and other technologies,
Americans are more dependent on people they know and trust to guide them through today’s tides of
change. In fact, the RoperASW marketing research company has reported steady percentages of people
who turn first to family, friends, and associates for what movies to see, cars to buy, places to visit, health
issues, investment tips and home improvements since as early as 1977. In The Influentials Keller and
Berry add: “Americans generally are twice as likely to cite word of mouth as the best source of ideas in
these and other areas as they are to cite advertising” (qtd. in Sosnick, Dowd, and Fournier 182). Trust is a
key dynamic here. Word-of-mouth communication is effective when it is authentic—“a rare burst of
honesty in a plastic marketplace” (Sosnick, Dowd, and Fournier 185).
In essence, it all comes down to credibility, and this emphasis on trust is shaping social, religious,
political and commercial spheres alike. Today, word-of-mouth advocacy is the golden ticket for
marketers. It’s the sparking of a conversation, the generation of hype, and the continuance of “buzz” that
moves products and ideas. Marketing guru Emanual Rosen defines buzz—a common industry term—
simply as “person-to-person communication about someone or something”(2). Its basic building block is
a comment, though it can be expounded upon and reshaped based on the medium through which it travels.
Buzz is not a new concept; it is an amped up version of the word-of-mouth that Sosnick, Dowd, and
Fournier describe. Buzz can be transmitted through face-to-face or phone conversations, e-mail, blogs, or
any other method of communication consumers can fathom. With the advances in Internet and other
digital technologies, the volume of buzz is exploding. Moreover, new media formats give customers
richer ways to communicate with each other. This includes audiovisual technologies as well as tools that
give people more opportunities to observe each other (such as observation via social network profiles,
which will be discussed in Section IV(B) of this literature review).
Now, to bring this home, it is worthwhile to investigate the history of opinion leaders within the
19
publishing industry. In the past, as in the rest of society, opinion leaders were those who were elevated in
the public eye. They enjoyed some degree of fame, held a position of power, or could boast a specific area
of expertise. For the book trade, anyone from a popular culture celebrity to a professional reviewer or
literary expert could constitute an opinion leader. At the end of the twentieth century fame ruled the day.
A study of Oprah’s Book Club selections from 1993 to 2002 illustrates the potency of the celebrity
influence (Butler, Cowan, and Nilsson). Television talk show icon Oprah Winfrey began featuring books
on her show—roughly one per month—in the early 90’s. Based on the USA Today’s bestseller list of the
150 best-selling book titles in fiction, nonfiction, hardback and paperback, researchers found that Oprah’s
picks not only rose from obscurity3 to bestseller, but also stayed in the top 150 longer than an “average”
bestseller (non Oprah picks)—though only marginally. The study further found that Oprah’s impact was
prolonged with paperback editions, with a number of books enjoying both hardback and paperback runs
up the list (Butler, Cowan, and Nilsson 26).4
When Butler used statistical techniques to quantify the “Oprah effect” on the sales of retail books,
he estimated that each Oprah pick generated about $80 million in new sales for retail bookstores (32). The
profundity of this impact is unprecedented, and it is widely understood that the “Oprah effect” is a distinct
and unique phenomenon. Nevertheless, the influence of other, lesser-known opinion leaders holds some
weight, though notably diluted. A 2007 study affirms the role of literary critics as opinion leaders with an
impact on a book’s success on bestseller lists, though only in certain segments. 5 The study, which was
based on the particular influence of four book critics featured on Germany’s most popular literary
Just eleven of the 45 books studied had been part of the top 150 before Oprah featured them on her show, though
the vast majority of the books were published at least one year prior to their selection for the club. The highest
ranking any book had achieved before its book club introduction was just 25 (Butler, Cowan, and Nilsson 24).
4 It should also be noted that Oprah’s picks are almost uniformly realistic novels published since 1970, while the rest
of the 150 bestselling represent many different genres. This may confound comparison in terms of different books’
longevity on the list (Butler, Cowan, and Nilsson 28)
5 Book success was measured by the following variables: (1) book success, based on number of weeks on the
bestseller list; (2) appearance of the book on the television show; (3) book review ratings; and (4) arguments about the
book, based on the hypothesis that books that are the subjects of intense argument by the critics will experience a
huge surge in sales
3
20
television show6, found that books benefit when they receive reviews that provide a clear statement about
the reviewer’s preference, regardless of whether that review is negative or positive; what is important is
that the book be reviewed as very good or very bad (Clement, Proppe, and Rott). According to the
authors, this assessment enables consumers to understand the critics’ message easily and use it as a
benchmark for their own preferences (Clement, Proppe, and Rott 102). Without a strong expression of
opinion by the reviewers, consumers suffer quality uncertainty, and the ultimate probability of book
success is reduced.
This effect also supports word-of-mouth communication mechanisms. The probability that
consumers will talk about a certain book increases with either strong negative or strong positive effects.
The same effect occurs when critics argue about a book and have extremely different opinions.
Consumers are more likely to remember discussion of the book if there is controversy surrounding it.
Based on these findings, the authors suggest that publishers should seek “extreme” reviews to generate
publicity for a book (Clement, Proppe, and Rott 102). Then, based on the “two-step flow of
communication”, the theory is that once the review reaches an opinion leader (either from the mass media
or from an authoritative source in the literary industry) he or she will share it with members of his or her
inner social circle, and the diffusion process will continue from there (Clement, Proppe, and Rott 84).
However, recent years suggest that the initial influence of big-name, celebrity opinion leaders
may be waning, which further supports Sosnick, Dowd, and Fournier’s ideas regarding the potency of
peer-to-peer networks. The Butler study observed a general decline in the performance of Oprah’s book
picks over the September 1996 to April 2002 period. Based on the criteria in ranking (number on the
bestseller list) and longevity (time spent on the bestseller list), later books were simply not as popular as
the earlier book club selections (Butler, Cowan, and Nilsson 31). This could be a result of declining
quality of the books themselves, or it could be attributed to Oprah’s waning influence to get consumers to
6
The show was Das Literarische Quartett, and the study included 1,431 books from the bestseller list between 1988
and 2001, 168 of which were featured on the show
21
go out and buy her books (Butler, Cowan, and Nilsson 31). The latter would add to the argument for the
rise of opinion leaders as “people like me” and the potency of word-of-mouth marketing.
This trend invites the question: is publishing on the verge of a new evolutionary cycle? Could the
book business be returning to the decentralized, improvisational and personal cottage industry Epstein
describes in the opening chapter of his book? Could it be “the same thing but in another way” as Ortega y
Gasset puts it—a modern, digitized version of the old cottage industry structure (qtd. in Coser, Kadushin
and Powell 17)? Though technology is surging ahead, it’s enabling a kind of specialization and
personalization that harks back to the earlier days of the marketplace. The ability of readers to select,
review and endorse certain works suggests a kind of digital democracy that could change the entire
model. In fact, the empowerment of readers to create and promote their own content independently has
the long-term potential to make publishers obsolete altogether. But to understand such possibilities first
requires a look at the current state of the industry.
22
Section IV. Understanding the Publishing Industry in 2011
Transformation and Digitization
A.
Changing Formats
The book industry as a whole is undergoing a rapid reconfiguration (Carreiro 219). Innovative
technologies and emerging ideas are forcing publishers to jump on board or be left behind. The most
recent wave to rock the industry is the electronic book, or “e-book,” which some argue has caused the
greatest transformation to publishing since Gutenberg and his printing press (Carreiro 220). These devices
are compelling publishers and booksellers alike to establish a digital strategy. Failure to do so could be
fatal, as demonstrated by the recent fall of Borders bookstore, the second largest chain behind Barnes &
Noble (Italie). Borders filed for Chapter 11 bankruptcy protection in February 2011, and will close nearly
a third of its 642 stores, from San Francisco to Fort Lauderdale, Florida. Among other things, the
company’s downturn is widely attributed to its failure to adapt to the changes and challenges that the new
business model the digital environment presents (Perigoe).
Before continuing, it is important to note a few distinctions between e-books and print books.
First of all, like print books, the term e-book can either refer to the physical object itself or its content. “Ebook” encompasses the media (electronic format), device (hardware), delivery (Internet), and content
(literature). E-books differ from print books in terms of media, distribution, functionality, management,
quantity, copyright and fair use, information technology, cost, typology of e-books (as in format—PDF,
HTML, TXT, DOC, DOCX, MP3, JPEG, GIF, etcetera) reading device format specificity (or lack
thereof), pricing, accessibility, publishing model, reviews (open content), service model (subscription or
pay-per-unit), quality assurance, standards and interoperability (current formatting specs include EPUB
(file extension of an XML format); OpenPub structure (OPS); Open Packaging Format (OPF); and Open
Container Format (OCF))7, user preferences, layout and paging, and contextual reading (Carreiro 220). In
more definitive terms, an e-book can be understood as follows:
7
According to the International Digital Publishing Forum, the trade and standards forum for the publishing industry
23
“(1) An e-book is a digital object with textual and/or other content, which arises as a result of
integrating the familiar concept of a book with features that can be provided in an electronic
environment; (2) E-books typically have in-use features such as search and cross-reference
functions, hypertext links, bookmarks, annotations, highlights, multimedia objects and interactive
tools.” (221)8
While the impact of these technologies is still playing out in the publishing industry, a number of
changes are clear. Perhaps the most prominent is the fact that the term “out-of-print” need never be
uttered again (Carreiro 223). The publishing industry’s supply chain will be faster and shorter, and the
associated costs will be proportionally less. This all around decrease in cost means greater returns for
publishers and authors, and, in turn, lower prices for readers. Moreover, as more users adopt e-books, the
price of the hardware will come down and bring more users into the market. And finally, computers and
new technologies will continue to enhance our ability to produce and distribute books of any format with
greater efficiency, to ensure their place in our future (Carreiro 223).
Looking forward, there are a number of challenges the industry faces too. For one, the open
content format, which enables readers to interact with content, brings the possibility that literary works
could be a work in progress forever. The traditional standards of a beginning, middle and end in prose
could be lost. Another issue is the potential for piracy, as seen by the music industry with the digitization
of songs for online and portable music libraries. And, last but certainly not least are the many
complexities of interoperability, accessibility, usage and functionality. Competition between both device
and/or content providers is already at a head, and with no guiding precedent, industry leaders are gunning
for the winning business model with little regard for conventional standards.
The proliferation of devices and resources exacerbates yet another change in the industry: the
increasingly complex concept of the “bestseller.” The term is habitually used to describe and promote
certain books, but what does it really mean? The lack of definitive and standardized criteria brings
controversy to traditional lists, reviews and rankings. Convoluting this system is (1) list inflation—the
proliferation of bestseller lists including USA Today, Amazon, Barnes & Noble, The Washington Post,
The first part of the definition is stable as it focuses on persistent characteristics, while the second part is dynamic
and will need to be revised continually as it focuses on benefits and technologies that will evolve over time (221)
8
24
The Los Angeles Times, The Wall Street Journal, Publishers Weekly and others; (2) the fact that each list
relies on a widely varying set of inputs to determine its rankings; (3) the fact that many bestseller lists are
based on sales figures from only a small sample of retailers, meaning that many bestselling books go
unlisted because they are sold out of independent stores; and (4) the numerous opportunities to
manipulate the system (for example, buying a high ranking via bulk purchase of a book from a key
retailer by an organization or corporation to boost sales figures) (Bowerman).
Online bookselling adds considerably to this complexity. Amazon’s system, for example, ranks
books sold in comparison to the sales figures of the other thousands of books available for sale within the
same hour. This means that new-release books with no sales history whatsoever can outrank an older
established title, even if the actual, long-term sales figures for the latter far exceed the former. This has
important implications for the future of the industry. The designation of a book as a “bestseller” is losing
its value as the term becomes increasingly fluid and subjective. Moreover, the collaborative nature of the
Web means that the audience is being integrated into the marketing and review process, and giving
greater authority to word-of-mouth publicity. Online retailers like Amazon provide open forums for user
comments and feedback, so that readers are able to publicly endorse or critique books as they see fit. This
multi-directional dialogue, though democratic, is convoluted and difficult to parse when participation is at
its peak.
What does this all mean for the trade book? It means that the whole model could change.
Between 2002 and 2008, annual sales in the industry grew just 1.6 percent, and profit margins were
shrinking (Trippe, Guenette, and Goldman). Like other struggling businesses, publishers had slashed
expenditures, laying off editors and publicists and taking fewer chances on unknown writers (Auletta).
The industry’s hope was that digital could renew interest in what was quickly becoming a dated
pastime—book reading—giving it a modern edge and reviving its profit potential. As the e- market
evolves, that hope is in many ways coming true.
In contrast to Borders’ decline, the companies that have embraced the digital revolution are
finding a new foothold in the marketplace. Thus far, Amazon is the industry role model in the technology
25
transition (although Apple is giving them a real run for their money). The sale of Kindles—Amazon’s
trademark reading device—has had a huge impact in increasing Amazon’s “share of wallet” among book
buyers. Before acquiring a Kindle, book buyers made about 14 percent of their unit purchases at Amazon;
this figure tripled to just over 37 percent after they bought a Kindle, according to a 2010 study by Codex
Group (Milliot). Codex President Peter Hildick-Smith called it “the most amazing retail share growth
strategy I’ve ever seen” (Milliot).
As companies take note of Amazon’s success story, the rivalry for customer loyalty begins.
The goal is to have consumers commit to their e-reader products and services so that they will be bound
to the company in obtaining content as well. Once again, Amazon is leading the game. Its Amazon Prime
program is just one example of how Amazon uses rewards systems to hook customers. For a membership
fee of $79, the Amazon Prime package offers readers unlimited fast shipping (including free two-day
shipping and one-day shipping for $3.99 per item) and access to instant videos from a streaming library of
over 5,000 movies and TV shows. Barnes & Noble, another contender, distinguishes its offerings with
special features on its trademark e-reader, the Nook. The Nook, which touts access to over a million
public domain titles, features a LendMe system through which consumers can loan books to other Nook
users for two-week increments. Apple is likewise in the ring, selling e-books through its iBookstore.
iBooks can be read on the Apple iPad only, though book reading is only a peripheral function of the iPad
(it’s positioned as the “does everything” media consumption machine). These differentiating factors are
all crucial considerations as marketers and promoters select the appropriate channels for distributing and
vending content.
Another differentiation tactic to consider for distribution is the sale of books outside of traditional
book retailers. Publishers are now approaching just about anyone with a shelf, according to a New York
Times article run in February 2011 (Bosman). “The national bookstore chain has peaked as a sales
channel, and the growth is not going to come from there,” David Steinberger, chief executive of the
Perseus Books Group commented. “But it doesn’t mean that all brick-and mortar retailers are cutting
back.” A wide range of stores better known for their apparel, food and giftware are adding books. Fashion
26
designer Marc Jacobs’ opening of Bookmarc in Manahattan last year, Anthropologie’s increase in the
number of titles it carries from 25 in 2003 to 125 in 2011, and Coldwater Creek, Lowe’s, Bass Pro Shops
and Cracker Barrel’s addition of books to their repertoires are all cited as examples. Having a physical
outlet is imperative, publishers say, as lesser-known books can get lost without a physical presence to
catch a shopper’s eye and spur interest. This phenomenon is difficult to mimic online, and the placement
in different specialty stores is a means of widening the audience to appeal to someone who would not
ordinarily spend time in a bookstore.
Despite all of these changes percolating the industry, it’s important to note that as recently as
2009, e-readers represented only 3 percent or less of the industry. The Simba Information report states
that about 9 percent of the U.S. adult population bought at least one e-book in 2009. About 15 percent
used (read, but didn’t necessarily buy) e-books (14). Meanwhile, data from Simmons Market Research
Bureau’s national consumer survey confirms that about 57 percent of U.S. adults bought at least one print
book that same year. The point: technology moves fast, but consumers move slow (Simba Information 15).
While the e-tail giants—Amazon, Apple, and Google—are moving at warp speed, non-traditional
publishing options like “print on demand” and self-publishing venues are popping up left and right and
the very nature of the book is evolving with the incorporation of audio, video and hypermedia content
(Trippe, Guenette, and Goldman). But the materialization of this technology in the mass marketplace is
more loath to unfold. The process will be slow, but the change is inevitable.
27
B.
Changes in Marketing and Promotional Activities
The digital transformation has a number of implications for the marketing process. As the VP of
marketing at one trade publisher remarked in Outsell Inc.’s 2010 survey of the worldwide e-book market:
“the name of the game used to be get your book in the hands of key reviewers and media people. That is
still important of course. But now I want our publicists to have toolkits for pushing widgets and other
content into any viable or influential blog, community site, or other site related to the book and its
audience.” (qtd. in Tripp, Guenette, and Goldman 69). In Outsell Inc.’s poll of the top promotion and
marketing efforts for e-books, social media-related undertakings—including blogs, Twitter, and/or
Facebook promotion of titles, as well as social community building and marketing through the book
publishing company’s own websites—were the leading tactics. A breakdown of all of the marketing and
promotional activities included is shown in Fig. 1 below.9
Fig. 1. Survey of Top Marketing and Promotional Activities for E-Books
Source: Trippe, Bill, David R. Guenette, and Karen Golden. “A Blueprint for Book Publishing Transformation: Seven
Essential Processes to Reinvent Publishing.” Outsellinc.com. Cambridge: Outsell Inc (2010): 70.
9
The survey used in-depth interviews with book publishers across segments. The segments represented included:
trade and consumer (30.9%); STM (science/technical/medical), professional, legal (22.3%); education, higher
(20.5%); education, K-12 (15.1%); B2B and directories (4.2%); government, regulatory (4.2%); and other (3.0)
28
The findings, which were presented in a 2010 marketing report by Tripp, Guenette and Goldman, reflect
that as books themselves are digitized, much of the promotional activity is going online too. Not only
that, but the resources are becoming increasingly informal, with an emphasis on social community
building and user participation. An understanding of these new media resources will be crucial to the
unfolding of this study.
Social networks are at the core of today’s media landscape. A social network site (SNS) can be
defined as an online community in which people can create personal profiles and organizations can create
pages. Social networks allow users to build networks by identifying and contacting friends. By nature,
these networks enable two-way communication among users (Thackeray and Hunter). A 2008 study by
the Pew Research Center found that overall, personal use of social networks seems to be more prevalent
than professional use of networks, both in the orientation of the networks that adults choose to use as well
as the reasons they give for using the applications (Lenhart). The study also found that use of social
network sites was heavily skewed to younger demographics, breaking down into the following
percentages:
•
•
•
•
•
•
75% of online adults 18-24 have a profile on a social network site
57% of online adults 25-34 have a profile on a social network
30% of online adults 35-44 have one
19% of online 45 to 54 year olds have a profile
10% of online 55 to 64 year olds have a profile
7% of online adults 65 and older have a profile
MySpace (launched in 2003) and Facebook (launched in 2004) are the dominant social network sites.
LinkedIn is another contender, though it is oriented for professional networks.
Other terms that are integral to understanding social network sites include:
Application: features on social networking sites that allow people to customize their page and
interact with each other. Examples include causes, photos, groups, events, gifts, videos and notes
Wall or Comments: the space on an SNS page where user’s friends can post comments
Group: a collection of people who share interest in a common issue. Groups share a common
SNS page through which they can share and discuss ideas on message or discussion boards.
Groups can be private (membership must be approved by an administrator or moderator) or they
can be public (anyone can join).
29
Recent research on social network sites has looked at the role these mediums play in shaping user
identity. A survey by the Pew Research Center found that online social network applications are mainly
used for explaining and maintaining personal networks, and most users utilize the networks to connect
with people they already know. Because these networks serve as a reflection of personal identity, users
are motivated to build networks that reflect their own background.
Social network applications further empower users to create their own brands, through the
expression of personal likes and favorites, as well as the articulation of groups to which one belongs.
Some theorists argue that social networks are giving rise to increasingly complex perceptions of selfidentity, as users are able to shift what is publicized and ‘front-stage’ across different networks and online
environments (Boyd and Ellison). But the real takeaway here is the growing proclivity toward sharing;
full disclosure is becoming a social norm.
This is further reflected in the proliferation of blogs, another top marketing and promotional
activity presented in Fig.1 above. A blog is a type of webpage where a person makes (or posts) regular
entries (e.g. text, photos, videos) similar to an online journal. Individual blogs can include personal
information, thoughts and feelings, and read like a journal. Organization or topic-based blogs tend to be
content specific (Thackeray and Hunter).
An offshoot of the standard blog is Twitter—a microblogging service. Launched in March 2006,
Twitter allows people to share brief (140 characters or less) updates on their location, activities, thoughts
and so forth. These messages, called tweets, can be sent using a mobile phone or the Internet and are
received by a user’s select network of followers. (When a user subscribes to another user’s tweets, he or
she becomes a follower of that user) (Thackeray and Hunter).
All of these tools for user participation and engagement have given risen to another phenomenon,
known as crowdsourcing. Crowdsourcing is defined as the act of outsourcing tasks to an undefined, large
group of people or community through an open call. An example of this would be peer reviewing of
academic materials posted online. Through open-access forums, users are able to contribute to and
comment on works. Supporters of crowdsourcing believe that the call to an open group will ultimately
30
attract the most fitting respondents for a task, generating the most fresh and relevant ideas (Howe).
Crowdsourcing has become particularly prevalent in the virtual retail world, as users are allowed to
publicly rate and comment on products on vendor websites, as well as incorporate brands and products
into their own social network profile pages.
The rise of social network sites, blogs and other forums for user-generated content reflect a
greater change in the way people consume media. No better is this exemplified than in a study on
“Understanding the Participatory News Consumer” by the Pew Research Center. The study found that the
overwhelming majority of Americans (92 percent) use multiple platforms to get news on a typical day,
including national TV, local TV, the Internet, local newspapers, radio and national newspapers.
Moreover, in this new multi-platform media environment, the study found that people’s relationship to
news is becoming portable, personalized and participatory. The report highlights these metrics:
Portable: 33 percent of cell phone owners now access news on their cell phones
Personalized: 28 percent of Internet users have customized their home page to include news from
sources and on topics that particularly interest them
Participatory: 37 percent of Internet users have contributed to the creation of news, commented
about it, or disseminated it via postings on social media sites like Facebook or Twitter (2010).
The subhead of the report reads, “How Internet and cell phone users have turned news into a social
experience.” These trends—the portability, personalization and participatory/social nature of news
consumption—pervade all types of media. This study seeks to uncover the ways in which these changes
are being applied in the book marketing process, as well as identify opportunities for the future.
Tech gurus also point to a number of trends underway. The movement toward multi- and crossplatform media consumption makes convergence across the film, music, television, print and online
industries seems inevitable. Content is available on multiple screens almost anywhere a consumer wants
it, and Nielsen data shows that time spent on each of the three screens—TV, PC and Mobile—is
increasing.10 In particular, the consumption of video content is on the rise across all platforms (Bhatia).
Some argue that books should be repackaged into different formats, embracing new components such as
video, links and other technical goodies to win consumers. A few publishers have already begun
10
Data is not yet available for time spent on e-reader and other tablet devices that enable digital reading
31
experimenting with new trans-media ideas in their marketing endeavors; one company created iPhone
applications (often referred to as apps) to make select segments of a book’s content accessible to readers,
with the hope of prompting an eventual book sale (Simba Information 36)11. Retailers—including the
brick-and-mortar establishments—are even diversifying their offerings beyond the traditional bookshelf.
Barnes & Noble, for example, has been devoting more floor space for display of e-readers, games and
educational toys (Bosman).
Media tie-ins (also known as cross-promotions) are packing an increasingly powerful punch for
books too. A Simba Information study of six years of children’s New York Times bestsellers found that
books tied to films spent, on average, 25 percent more weeks on the lists than the other titles (31). In fact,
the movie-tie in category was the No. 1 segment tracked by Simba in 2009 (in terms of the number of
books which appeared on the bestseller lists). The expansion of popular culture into every aspect of life,
with consumers linking and uploading their favorite music videos, TV shows, games and other content
via smartphones and social networking sites, is sure to perpetuate this trend.
If nothing else, the literature reviewed for this study confirms that the publishing industry is
undergoing massive changes. As the media environment continues to evolve, propelled by the advances in
digital technology, the impact will become even more apparent in the book business. Along with the
many challenges this digital transformation brings comes a dual explosion of opportunities. From the
potential to redesign the concept of the book itself—through the hybridization of traditional text, music
and video products—to the endless possibilities for reaching consumers, it’s a brave new world for
marketers, and this study seeks to help chart the course.
11
This particular example featured a recipe app for a cookbook
32
CASE PROFILES
As digital media multiplies the opportunities for publishers and marketers alike, there is no way
to predict precisely what the future holds. Thus far, evidence suggests that historical standards, sociocultural influences and digital technology can all play an integral role in the success of a trade book today.
To better understand where these trends might be headed, a comparative case study analysis will examine
how they have unfolded in the last decade.
In this section, research will compare and contrast the promotional campaigns of two best-selling
books released in different years of the digital transition; one book was released before the real explosion
of digital technology (between 2001 and 2006), and the other book was released in the midst of the
transformation (between 2006 and 2011). The variations in the two book campaigns should be reflective
of past and present changes taking place in the industry as well as indicative of what the future may hold
for the book (in whatever form that may be).
33
To ensure the reliability and validity of the case study, a precise list of criteria was developed for
guidance. The book selections were based on the following standards:
 Works of trade fiction. The study focuses on works of fiction in order to minimize
political, social and other contextual influences that other books might have on audience
reception and market success. (For example, a memoir by the defense secretary released
during wartime could be a natural bestseller regardless of the promotional tactics used).
 First-time author in the category. The study seeks novice authors to eliminate the
potential influence of celebrity status, and maximize the importance of promotional
tactics. That well-established authors have an easier time of getting media coverage and
promotional deals is a well-known fact within the industry. But when a no-name author
attempts to break onto stage, he or she has nothing but strategy and tactics to carry the
campaign.
 Bestsellers. Although the increasing complexity of the term ‘bestseller’ is highlighted in
the literature review, it is still considered a defining mark of success. The study seeks to
observe best practices; therefore it is necessary to select promotional campaigns that were
clearly effective. Given the wide renown and longstanding credibility of the New York
Times Best-Seller List, inclusion on this list is used as a critical standard in the study.
 Works published after 2000. Only recently did the marketplace reach a tipping point in
the digital revolution. Given the currency of this trend and the social influences driving it,
the case study analysis seeks to capture marketing changes within the last decade. The
2001 to 2011 time frame should be sufficient for revealing potential patterns and trends
for the future.
34
The first book selected was The Secret Life of Bees, by Sue Monk Kidd. Published in early 2002,
The Secret Life of Bees was Kidd’s first novel (novel being defined as an extended fictional work in
prose, usually a story).12 It spent more than 118 weeks on the New York Times Best-Seller List and has
been translated into 20 languages, selling more than six million copies to date.13 In 2008, The Secret Life
of Bees was made into a major motion picture starring Dakota Fanning, Jennifer Hudson, Queen Latifah
and Alicia Keys.
The book itself is set in South Carolina 1964. It presents the moving tale of Lily Owens, a 14
year-old girl who is haunted by the memory of her late mother. To escape her lonely life and troubled
relationship with her father, Lily flees with Rosaleen—her caregiver and only friend—to a South Carolina
town that holds the secret to her mother’s past. There she is taken in by the eccentric Boatwright sisters,
entering their secret mesmerizing world of bees and honey, and of the Black Madonna who presides over
a household of strong, wise women. Reviews call the book “a remarkable story about the divine power of
women and the transforming power of love,” and attribute it with a “rare wisdom about life”
(Penguin.com). It’s a coming-of-age tale that resonates with audiences of all ages.
As the earlier of the two books selected for case study, The Secret Life of Bees’ promotional
campaign will serve as the baseline for comparison. The next book selected, The Help by Kathryn
Stockett, was published in 2009. This was Stockett’s first novel and first book. In fact, Stockett spent five
years trying to get a literary agent, collecting a record of more than 45 rejection letters with her debut
piece. Finally, Susan Ramer of Don Congdon Associates agreed to take on the book (Suddath). From
there, it was on the New York Times Best-Seller List within a matter of months. As of spring 2011, The
Help was maintaining its lead as one of five hardcover fiction titles that had been in one of the top 35
spots on the extended New York Times Best-Seller List most often in the last year (This means that like
12
A potential limitation to the study is the fact that Kidd published several nonfiction works prior to her transition to
the trade fiction category for The Secret Life of Bees. When the Heart Waits, Firstlight and The Dance of the
Dissident Daughter are nonfiction spiritual books Kidd published in the 1990’s. However, the content, style and
marketing of these earlier books is different enough to be considered separate from the later trade fiction campaign
for The Secret Life of Bees.
13
According to the author’s website (www.suemonkkidd.com) as of March 2011
35
The Secret Life of Bees, it has spent more than 100 weeks on the list) (“Fiction Mainstays”). By March of
2010, DreamWorks Studio had nabbed the rights to a movie production, and filming began in Jackson,
Mississippi that summer. The star cast includes Emma Stone, Bryce Dallas Howard, Sissy Spacek and
Octavia Spencer among others.
Also like The Secret Life of Bees, The Help is a Southern literary novel. Set in 1962 Mississippi,
it tells the tale of three seemingly different women, united in a clandestine project that puts them all at
risk. The first character, 22 year-old Skeeter, is an Ole Miss graduate and aspiring journalist whose
mother will not be happy until she has a ring on her finger. In a twist of fate, Skeeter teams up with
Aibileen and Minny, both black maids and caregivers with whom Skeeter had no business consorting
according to the social norms of the day. Together, these three women start a movement to forever change
a town and the way women—mothers, daughters, caregivers and friends—view one another. Reviews
called The Help a “deeply moving novel filled with poignancy, humor, and hope,” and a “timeless and
universal story about the lines we abide by, and the ones we don’t” (Penguin.com)
Although no criterion was included for the publisher of the books, both books happen to be
published by Penguin Group (USA). The Help was a product of Amy Einhorn/Putnam, which is a smaller
new imprint of Penguin Group. The influence of the publisher, particularly a renowned industry leader
like Penguin, will be later discussed as a potential limitation to the study.
In summary, the books selected fulfill the criteria as follows:
 Works of trade fiction: two Southern literary novels
 First-time authors in the category: The Secret Life of Bees was Sue Monk Kidd’s first
novel, and The Help was not only Kathryn Stockett’s first novel, but also her first book.
 Bestsellers: both books spent at least 100 weeks on the New York Times Best-Seller List
 Works published after 2000: The Secret Life of Bees was published in early 2002, and
The Help was published in early 2009.
36
CASE ANALYSIS
With the books selected, the next step of the case study was the collection of data for comparative
analysis. A list of criteria for analysis was developed based on the findings of the literature review, and
the appropriate data was sought for discussion in each of the categories listed below. Ultimately, the
categories reviewed are meant to reveal changing patterns in media coverage (in both traditional and new
media outlets); differences in the distinct promotional efforts of the author and the publisher for each
book; the changing impact of third-party endorsements (both within and outside of the literary industry);
and, finally, changes in the sales and distribution environment. As society, the media and the industry
evolve, it is expected that the pursuit of the book and its rise to success are like transforming.
The method of data collection varies with each category, and will therefore be discussed on a
case-by-case basis. The criteria include:
I.
II.
III.
IV.
V.
VI.
VII.
Traditional media reviews and articles
(a) Mainstream
(b) Trade
(c) Niche
Blog presence
Social media presence and community building
(a) Twitter
(b) Facebook page(s)
(c) Crowd source reviewing (ex. Amazon)
Third-party endorsements
Author accessibility
(a) Website/blog
(b) Book launch tour and author events
Publisher Efforts
(a) Publisher website
(b) Advance galleys and early notice
Channels of distribution/online availability
37
Section I. Traditional Media Reviews and Articles
In analyzing the promotional campaigns of each book, the first step was to review the earned media
placements. An earned media placement refers to any coverage generated in the news media—print or
broadcast—which is unpaid (distinct from advertising, which is defined as paid promotion). Coverage is
typically earned when a topic is interesting and newsworthy or relevant to other current issues that are
prevalent in the media environment (Nisbet).
This study used the LexisNexis Academic and ProQuest Research Library databases to search for
articles related to the books. The search time frame was limited to articles generated within the first two
years of each book’s publication, to ensure that the study captured coverage in the initial diffusion period
only. For The Secret Life of Bees, the search comprised relevant articles from 2002 to 2004. For The Help,
the time frame was 2009 to 2011.
One important factor to note is that both books were signed on as major motion pictures. Because The
Secret Life of Bees movie was produced and released nearly six years after the book’s publication (in
2008), it was easier to separate media coverage of the book from the movie. The Help, on the other hand,
scored a movie deal just one year after publication. This means that early promotion of the book was
actually entwined with promotion of the movie, so articles related to both the book and the movie were
cataloged. That both were instrumental in raising awareness of the book itself is evidence of the
strengthening bond between the literary and entertainment industries. Convergence across both content
and mediums—as discussed in Section IV(B) of the literature review—will be an area for focus
throughout this study.
Throughout the research process, relevant coverage included both official book reviews and
articles thematically related to the books and their content. A singular mention or reference to one of the
books in a broadly themed article was not considered of strong enough promotional value for inclusion in
the study. Articles and reviews were cataloged based on the media outlet in which they were published.
Those deemed as ‘mainstream media articles’ were found in general news outlets (print or online). ‘Trade
articles’ were those found in publications directly related to the publishing industry. ‘Niche articles’ were
38
those found in media outlets specific to a particular industry, organization or audience outside of the
publishing industry (for example, the entertainment industry).
The search yielded the following results (for a full list of the title, author, date and source of each
article see Appendices A and B):
Table 1. Summary of Article/Review Coverage of the Books
Mainstream Media
Trade Publications
Niche Publications
TOTAL
The Secret Life of Bees
28
10
2
40
The Help
51
12
14
77
Looking at the total raw numbers, The Help generated 37 more articles/reviews than The Secret Life of
Bees did in the first two years of publication. This could simply be because one book was more
compelling than the other, and therefore generated publicity more easily. But, given the comparable
success rates of both books, it could also mean that the mediascape has evolved such that it is possible to
get the name of a book out further and faster. The Help garnered nearly twice the amount of article
coverage than The Secret Life of Bees in its first two years and this did not include bestseller listings.14
Media fragmentation and the proliferation of communications channels, as well as technology
improvements facilitating the rapidity of information transmission, could be driving forces behind this
significant increase in coverage for a bestselling book.15
Furthermore, coverage for the two books differed in the types of articles and reviews.
The percentage breakdowns in Fig. 2 below enable a comparison of the proportion of coverage found in
each different type of publication. As a percentage of the whole (total number of articles found within the
first two years of each book’s publication), there is no significant difference in the prevalence of
14
Title listings in the weekly, monthly or other periodical rankings of various publications’ bestseller lists were not
counted in the article coverage
15
A notable limitation to the study is that it does not have the figures for media impressions garnered for each
article. Impressions refers to the number of viewers exposed to the publications; so, although The Help outnumbered
The Secret Life of Bees in the number of articles it was featured in, it is unknown if the book actually reached a
wider audience. This is another area for future research.
39
mainstream media coverage. For both books, articles and reviews in traditional news outlets dominated
(70 and 66.2 percent respectively). This coverage was typically part of standard weekly or monthly book
features within a news publication. For example, both books were featured in the Book Review sections
for the New York Times and The Washington Post (See Appendices A and B).
Fig. 2. Breakdown of Percentages in each Category
The Secret Life of Bees Mainstream Media 5% 25% 70% Trade Publications The Help Mainstream Media 18.2% 15.6% 66.2% Niche Publications Trade Publications Niche Publications One interesting difference in the mainstream coverage was the rise in articles for The Help
regarding the somewhat controversial nature of its storyline. The book addresses segregation and other
social issues prevalent in the south in the 1960’s, and some critics deemed Stockett’s bold depiction of
racial issues as offensive. As a book reviewer in Entertainment Weekly described it:
“The backstory is cringeworthy: A young, white first-time author—inspired by her own
childhood relationship with her family maid in Jackson, Miss—sets out to write a novel from the
point of view of black maids in the midst of the civil rights era. Kathryn Stockett’s debut novel,
The Help, could have turned out goofily earnest or shamefully offensive….” (Valby)
This particular author takes the stance that Stockett ultimately prevails with grace, presenting a realistic
and compulsively readable story in The Help. Some reviews were less flattering, but the headlines
centered on conflict such as "Unexpected Hit Novel 'The Help' Pushes Buttons" (Associated Press), "'The
Help' Speak Up. What Will Kathryn Stockett Say?" (Politics Daily) and "Racial Insults and Quiet Bravery
in 1960s Mississippi" lit a fire that undoubtedly sparked the interest of many readers (Maslin).
This inherent buzz value—derived from The Help’s controversial contextual theme—supports a
straight-reflection argument for the sociology of literature. The theory, discussed in Section III of the
literature review, hypothesizes that literary content mirrors societal trends and themes (Griswold). As
40
applied to The Help, this would mean that the book’s popularity reflects a societal interest in cultural
conflict and race relations. It is the relevant and compelling content of the book that gives it traction in
society. This approach downplays promotional efforts, as a book’s substance becomes the ultimate
determinant of success. Still, even following this approach, some promotional work needs to be done to
spotlight the relevant, compelling aspects of the book and spark interest among the media and the public.
Further fueling The Help buzz was a pending lawsuit from a 60-year-old woman who claimed her
life was the basis of one of the leading characters in the novel (Oldenburg). Stockett denied the
allegations, but the media interest it garnered could reflect a deeper trend. Such hype could support the
finding from the study by Clement, Proppe, and Rott discussed in Section III of the literature review.
Based on research of the role of literary critics as opinion leaders, Clement, Proppe and Rott found that
controversial discussion, as well as strong positive or negative reviews, positively influenced a book’s
sales. This study would take it one step further to question whether controversy outside of the literary
industry could similarly impact a book’s sales. Agenda building studies highlight the dual role of conflict
and narrative in the news media (Nisbet), and it seems possible that The Help benefited from these values
as the controversy surrounding its subject matter earned it widespread media attention.
Recurring references to The Help as “an unexpected hit” may have similarly contributed to its
popularity in the media arena. The Associated Press article—“Unexpected Hit Novel 'The Help' Pushes
Buttons"— widely circulated in April 2009 reveals that the manuscript was repeatedly shunned when
Stockett first began shopping it to agents. “She stopped counting at 45 rejection letters,” the article
divulges, “but kept at it until Ramer snapped it up after reading a few pages. What others didn’t see—or
care to read—was immediately evident to Ramer.” One subheading in the article read, “Cringeworthy
story becomes a hit,” and the premise of the book was later summed up as “a first-time author writing
about black maids and white families in the South.”
Here, an “underdog story” becomes the overarching storytelling theme drawing the book into
media coverage. The improbability of success seems to have captivated journalist—and ultimately
public—interest in the book. This reinforces the idea that news values can shape coverage of a book; but,
41
another implication is that by understanding these values, book promoters can be proactive in earning
media coverage for their products. By highlighting the elements of a book from an angle that fits within
established news values—prominence, conflict, drama, proximity and timeliness—it is possible to
generate media attention. The ultimate goal is to achieve the buzz factor, appealing to opinion leaders
either indirectly through the media or through some form of direct communication, and sparking a flow of
influence through today’s extensive peer-to-peer network systems.
It should be noted that The Secret Life of Bees touches similar racial issues to The Help, given
that it is also set in the South in the civil-rights era. However, The Secret Life of Bees is more about the
“coming-of-age” of its fourteen year-old heroine than it is focused on racial tensions. Lily’s surrogate
black mothers—the Boatwright sisters—are depicted as idealistic maternal figures who provide just the
right amount of caring and wisdom that Lily needs to come terms with the loss of her actual birth mother.
The Help’s storyline is a bit more prickly, with its cast of characters described by one reviewer as “several
feisty women enmeshed in a page-turning plot, clear villains and a bit of a history lesson” (Rich). Again,
these subtle contextual differences and their implications for media coverage simply reinforce the
compelling nature of conflict.
One common pattern identified in the mainstream media coverage of the books was a spike in
feature articles during the summer months. In the season of vacations, trips to the beach and days by the
pool, many publications run special ‘summer reads’ articles suggesting the best books to while away the
hours. Both The Secret Life of Bees and The Help were promoted as quintessential beach reads. For future
book promoters, this summer trend can be seen as an annual marketing opportunity.
The other two categories—niche and trade publications—point to a subtle change in coverage
patterns across the decade. While 25 percent of the articles found for The Secret Life of Bees were in trade
publications, this category constituted only 15.6 percent of coverage for The Help. Conversely, about 18
percent of coverage for The Help was in niche publications, while only 5 percent of articles found for The
Secret Life of Bees were in this category.
42
As mentioned, niche publications are media outlets specific to a particular industry, organization
or audience. The Secret Life of Bees only had two articles considered to be in niche publications. One was
entertainment-oriented (an Entertainment Weekly book review), and the other was financial (a Penguin
Group report of record sales, partially attributed to the success of The Secret Life of Bees).
Trade articles and reviews, on the other hand, were pivotal in promotion for The Secret Life of
Bees. Outlets like Publishers Weekly, Library Journal, and American Booksellers Association provided
coverage before and in the early stages of the book’s publication. The general pattern for coverage in the
trade publications seems to be introductory reviews followed by articles highlighting successes—such as
“Behind the Bestseller” feature articles in Publishers Weekly, or announcements of specific achievements,
as when American Booksellers Association ran an article about Good Morning America’s selection of The
Secret Life of Bees for its ‘Read This!’ list. The implication of this pattern is that those books that are not
making industry news in and of themselves must find an angle to maintain relevance in the field. This
could mean actively seeking inclusion in literary programs (like community reading lists), keeping the
author in the spotlight with book tours and events, or soliciting cross-promotional opportunities.
For The Help, the majority of niche articles were found in publications relating to the
entertainment industry. This can be largely attributed to the fact that the movie rights for the book were
sold to DreamWorks Studio only a year after publication. Articles covering the casting, filming and
production of the movie were coming out at the same time as early book reviews, meaning that movie
teasers could just as easily have prompted a book sale as a traditional book review. In fact, promoting a
film several months in advance of its release is an ingenious tactic for generating simultaneous book
sales. The success of this publicity strategy strengthens the notion that media tie-ins are becoming integral
to the publishing process.
Other niche coverage for The Help included political outlets (Politics Daily on the racial
controversy surrounding the book’s content) and outlets geared towards women (reviews in Ms. Magazine
43
and The Aglaia).16 Such coverage implies that books are no longer being promoted as straight
commodities. Contrary to the mass-market approach described in Section I of the literature review, the
content and style of the book seem to be shaping where and how it is featured. This means that, beyond
catering to traditional news values, tailoring promotional tactics to specific audiences and interest areas
could be a highly effective strategy for future campaigns. While this is an established practice for
nonfiction works like cookbooks and travel guides, such ideas are just now gaining traction for trade
books. Niche marketing is already manifest in the retail environment, as books are moving from
traditional bookshelves to the shelves of specialty stores like Marc Jacobs outlets and Bass Pro Shops
(Bosman).
An immediate challenge of the niche strategy is that the book needs to fit with the publication or
outlet in which it is featured; in other words, the content should be compatible with the medium. While
the increasing variety and sophistication of media presents plenty of suitable options for each book, it also
means the audience is increasingly fragmented and the competition for attention is even more intense.
But, with new and varied approaches to content, including cross-platform applications and hybrid text,
video and audio formats, it is still possible to engage audiences with the right tactics. For trade books, an
example might be a fictional narrative about a humanitarian aid volunteer living abroad featured in
National Geographic magazine, or another specialized outlet geared toward audiences with an interest in
travel or foreign cultures. A multimedia approach could enhance the strategy with promotional video
trailers, podcasts and other applications made available to consumers across digital devices.
The findings of the article and review coverage of The Secret Life of Bees and The Help did not
reveal any grandiose change in book promotions as conveyed in traditional news media. However, a few
subtleties in the progression of coverage from the first book to the second offer areas for future research
regarding potential promotional opportunities:
16
The Algaia is a national magazine for the women of Phi Mu sorority, which Stockett joined as a student at the
University of Alabama
44
 The impact of a movie cross-promotion in generating media coverage
 The impact of conflict and narrative in garnering and maintaining media attention
 A possible trend toward targeting niche publications and audiences
Section II. Blog Presence
The next category reviewed was blogs. Blogs are becoming a predominant part of the marketing mix,
as evinced by the Outsell Inc. study of the top marketing and promotional activities used by publishers for
e-books (See Fig. 1). The Outsell Inc. study—which polled publishers across sectors—found that
outreach on blogs, Facebook and/or Twitter constituted 18.9 percent of the e-book promotional mix
(second only to social community building and marketing through the book publishing company’s own
website) (Trippe, Guenette and Golden).17
As with the first article search, a single mention or reference to one of the books was not included
in the cataloging. Rather, blog coverage was considered as any substantial blurbs, reviews, reading guides
or content thematically related to one of the books that was posted online. Blogs are distinct from the first
category of articles in that blogs are generally published by individual users or private organizations
rather than traditional media outlets.18 Blogs also tend to be less formal than traditional media outlets, as
discussed in the literature review.
The blog search was limited to the first two years of publication for each book with the same goal in
mind—to capture patterns in the first stages of the books’ diffusion. The study used a simple Google
search, limiting the range of results to January 2002 through January 2004 for The Secret Life of Bees,
and January 2009 through January 2011 for The Help. The search results were cataloged by website,
entry/title and any special notes on the content (See Appendices C and D for the complete list of entries).
The total numbers came out to 23 blog features for The Secret Life of Bees and 121 blog features for The
17
Note that this study distinguishes between blogs, Facebook and Twitter as promotional tactics; Facebook and
Twitter are considered separately in section X, the social media category.
18
Some traditional media outlets have also developed informal blog additions, such as al.com (a site for Alabama
local news, sports and weather) which features “Steve Harvey’s Birmingham News Blog.” Coverage in Steve
Harvey’s blog was still included in the blog category.
45
Help. Based on these findings, The Help was featured in more than five times as many blogs as The Secret
Life of Bees (meaning 98 more blogs) in the first two years of its release.19
These results reaffirm the increasingly vital role that blogs are playing in book debuts and
publicity. A number of the blogs were topical sites dedicated to book reviewing, many of which offered
reading guides and discussion templates. These included sites for local book clubs, online reading forums
(such as LitLovers), and discussion boards for other related hobbies (like writerswrite.com). The growth
of these blogs from the scant 23 features for The Secret Life of Bees’ debut to the 121 features garnered by
The Help’s release suggests that this alternative form of media is gaining on traditional outlets as a
platform for promotion.
The findings also align with theories highlighting the personalization and participatory nature of
media consumption. About 35 percent of the blogs featuring The Secret Life of Bees (8 of 23) were
personal, individually-created sites (mostly made through wordpress.com or blogspot.com). For The
Help, about 54 percent of the blog features (65 of the 121 total) were on personalized sites. The key idea
here is that individual blogs, which include personal information, thoughts and feelings, and read like a
journal, are starting to outnumber organization- or topic-based blogs in terms of featuring trade books.
Such a change supports the growing tendency toward sharing and user-generated content that is fostered
by digital media.
The socio-cultural underpinnings of this idea can be traced back to Pop Life: An Introduction as
discussed in Section III of the literature review. In this book, Rak suggests the ways in which a
democratic notion of community is shaping the media. The premise of the argument is, again, that
“knowledge is meant to be shared and individual lives (and opinions) contribute to a whole society and/or
greater common knowledge” (Rak 328). The Internet, and blogs in particular, encourage this attitude. The
findings of this study confirm that consumers are taking full advantage of these media platforms, not only
to participate in the conversation, but also to spark it on their own.
19
No blogs were listed twice for one book
46
In fact, the majority of these individual blogs featured overtly opinionated reviews and
commentary on the books, which underscores yet another trend highlighted in Rak’s research. Rak goes
on to argue that “self-representation and the consumption of other people’s identities in popular culture
has become central to how Americans are getting, distributing and consuming information” (328). For
most people, the creation of a personal blog is a means of portraying a particular identity. By discussing
these books on their blogs, many people are connecting to the characters and the content on a deeper,
personally meaningful level. This suggests that relevance with the intended audience is more important
than ever for a book. In essence, authors and the promoters of their books are constructing a shared
experience through which readers connect with the characters in the book as well as fellow readers
outside of the book.
The upshot of this is the potential to trigger word of mouth and capture the buzz effect (as defined
in Section III of the literature review). Though word of mouth is diffusion is nearly impossible to track,
there is no doubt that this mode of communication played some role in both The Secret Life of Bees and
The Help’s success. In fact, Kidd wasn’t fully aware of how popular her book had become until she
turned on “Jeopardy!” in a hotel room one night and heard a contestant select the category “Women
Writers” for $600, after which Alex Trebek intoned: “Sue Monk Kidd’s debut novel is about this insect”
(Garner). The answer is obviously bees, but the point, which may be less clear, is that the consumer
public seems to have propelled this book to the top of its game. The author’s obliviousness to the pop
culture status of her novel confirms that her book’s rise went beyond a simple marketing orchestration.
There is no end to the buzz potential as publicity for the book online sparks conversations offline
and vice versa. And, it ties right into Keller and Berry’s argument that one of every 10 persons tells the
other nine how to vote, where to eat, and what to buy (Sosnick, Dowd, and Fournier 182). People look to
opinion leaders for guidance in a saturated information environment, and the Internet provides global
forum for seeking and obtaining advice. In this sense, blogs are simply the virtual manifestation of the
word-of-mouth phenomenon. These online journals are a platform for advocating ideas, endorsing various
47
products, critiquing and reviewing others’ thoughts, and so on. And, based on Sosnick, Dowd, and
Fournier’s arguments, these expressions are highly revered and valued in the public forum.
From a sociological standpoint, the idea that Americans’ faith in traditional sources has
diminished underpins all of this too. Sosnick, Dowd, and Fournier note that Americans are twice as likely
to cite word of mouth as the best source of ideas in many everyday decisions as they are to cite
advertising (182). Trust is a key dynamic to communication, and blogs, as informal outlets generally
created by “people like me,” have the quality of authenticity that today’s audience seeks.
The findings of the blog section confirm that there is potential for a return to a more diffuse,
personalized marketing system as readers become increasingly engaged in the process. It is clear that the
consumer role in gaining visibility only grew for The Help, and if this trend continues, it’s entirely
possible that marketers could be tapping influential individuals and leaders to drive their book campaigns
in the future.
Section III. Social Media Presence and Community Building
Social media presence and community building refers to online forums and networks related to
the books. Online social networks are rapidly being integrated into the core of the 2011 mediascape. The
majority of adults age 18 to 34 belong to at least one social network, though it is not uncommon to have
member profiles in several networks at a time (Lenhart). This study looks at the role these social networks
are playing in trade book promotions. For each case analysis, it examined the use of the following social
media tools:
48
(A) Facebook: the social networking service launched in February 2004. Users
may create a personal profile, add other users as friends and exchange
methods. Users can also create and join interest groups and “like pages,” an
outreach opportunity which is being utilized by many marketing programs in
the digital age.
(B) Twitter: the social networking and microblogging service established in
March 2006.
(C) Goodreads: the largest social network for readers in the world. It was
launched in December 2006 and is described as “a place for casual readers
and bona-fide bookworms alike.” Members can recommend books, compare
what they are reading, keep track of what they’ve read and would like to
read, form book clubs and more.
(D) Crowd Source Reviewing (Amazon.com): This study will focus on crowd
source reviews found on Amazon.com, the dominant e-retailer in the
marketplace today and a central forum for book reviewing.
Social media is a fairly recent phenomenon, and at the time of The Secret Life of Bees’ publication,
neither Facebook, Goodreads nor Twitter existed. Furthermore, nearly a decade after the publication of
The Secret Life of Bees, it is impossible to determine what the Amazon page for the book might have
looked like immediately after its release. Given these limitations, the study will look at how The Help
utilized these social media tools, and how they may have impacted the book’s rise to distinguish it from
that of The Secret Life of Bees.20
A. Facebook
The Help has a “like page” for the author called “Kathryn Stockett, THE HELP,” with 10,258
fans as of March 2011 (pictured in Fig. 3 below). The page features include basic information; a Wall to
which fans can post comments; Photos; Notes on promotional activities like book club giveaways; a
Discussion board on which fans can start their own discussion threads; and, an Events board to publicize
upcoming author activities. Photos include shots of the book itself, pictures of the author, and images of
readers with the book (including a picture of actress Sarah Jessica Parker with her copy). The website also
notes that all updates on the page are made by Octavia Spencer (a leading actress in the film version), and
not by Kathryn Stockett herself.
20
Note that The Secret Life of Bees does have a Facebook page as of 2011, but it is not applicable to the initial
promotion of the book
49
Fig. 3. The Help Author Facebook Page
The Help also has a like page for the book with 107,368 fans as of March 2011 (pictured in Fig. 4).
This page includes only basic book information, links to related posts, and a link to the Wikipedia page.
50
Fig. 4. The Help Book Facebook Page
The volume of posts on the Wall and in the Notes and Discussion sections of the author page
suggest the value of Facebook as a marketing tool. Users seem drawn to this opportunity to interact with
the author and others involved in the book, and to share their thoughts and feelings with other readers.
Posts on the wall include comments such as:
“I just finished your book this morning. It was ABSOLUTELY AMAZING! I’m looking forward to
reading more from you. :-)”
“Loved the audible…..can’t wait for the movie. This was one of the best”
“Please come to Portland, OR!”
Clearly, this feedback channel is one that should not be missed by any author or marketing team. The
outpouring of praise, recommendations and requests provide insight into audience attitudes that could
drive future promotional activities like never before. The author could plan book tours, respond to
specific discussion and even shape actual storylines for future books with the advice of these everyday
reviewers.
51
B. Twitter
Although neither Kathryn Stockett nor The Help have a designated Twitter account, the author and
her book have nevertheless made it into the Twittersphere. Users put out tweets about their experience
with the book, link to websites for purchase of the book or to websites with related content, promote
events, and even highlight quotes from the book itself. Examples include:
“Finished The Help by Kathryn Stockett and gave it 5 stars”
“Check out this Amazon deal: ‘The Help’ by Kathryn Stockett (Hardcover [external link])”
“Kathryn Stockett, author of ‘The Help,’ will speak at Ferguson Main Library, Thursday, May 12 at
7 p.m., Tick…..[external link])”
“’We are just two people. Not that much separates us. Not nearly as much as I thought.’ –Kathryn
Stockett, ‘The Help’”
Like Facebook, Twitter is another opportunity for audience interaction and engagement. All of this
harkens back to the earlier discussion of the increasingly participatory, social nature of media, as seen
with the rise in personalized blogs. Reading a book is no longer an isolated, individual activity. Readers
are sharing their thoughts and feelings with the online community in real time. They’re becoming the
book marketers and reviewers themselves, with access to all of the outreach tools traditionally limited to
professionals and a whole world of fellow network users at their fingertips.
In this case, what remains is the strategic placement of ideas within these social networks. The rest is
up to the people. And, as Epstein put it in Book Business, “proven talent will coalesce in particular venues
as it always has…..the filter that distinguishes value is a function of human nature, not of particular
technologies.” Epstein’s laissez faire attitude empowers the masses as the ultimate critics of quality;
regardless of the medium of expression—and the options are many—if people judge a work to be worthy,
they will share it with the world. This bottom-up approach sees books being lifted up by readers rather
than pushed downstream by the big publishers. Though the idea is still in infancy, this strategic reversal
has the potential to change the entire marketing model.
52
C. Goodreads
Specific outlets for a social networking strategy are now emerging within the literary industry too.
The creation of Goodreads in 2006 yielded a specialized social network in which readers could unite with
fellow book enthusiasts. Both The Help and The Secret Life of Bees are on Goodreads, but The Secret Life
of Bees page was not considered relevant to the book’s early promotion as it was created after 2006.
Goodreads was a well-established network at the time of The Help’s publication, making it highly
applicable to the book’s promotion. The Help page has 101,302 reviews using the site’s five star rating
scale and 26,786 narrative comments and reviews (as of March 2011, pictured in Fig. 5 below). Members
on the Goodreads site can access and contribute to community reviews and friend reviews (as users build
their own network of Goodreads ‘friends’ within the network). Goodreads also features popular shelves
lists, including to-read shelves, where members can save books they would like to read; currently-reading
shelves, where members can feature books they are currently reading; book-club shelves for the selections
of various reading groups; favorite shelves and more.
Fig. 5. The Help Page on Goodreads.com
53
The Goodreads website exemplifies the power of community building around a specialization. It
unites users around a common interest—reading—and maintains that interest through interactive and
engaging features. The website design encourages sharing and connecting with other users, which
facilitates an increasingly social and public review process. With ratings on the order of hundreds of
thousands for a single book, it is clear that there is an audience and a demand for this specialized outlet.
In an increasingly digital marketplace, it seems as important (if not more important) for authors to get
their titles on virtual ‘shelves’ as it is to get them on an actual bookshelf.
It should be noted that this online opportunity and others present a potential danger too. The channels
for reader praise and reviews are equally viable vehicles for negative ratings and criticism. This ups the
ante on the need for vigilant monitoring of the public forum to keep both author and publisher apprised of
the book’s reception across media. It is then left to the book’s promotional team to respond—or not
respond—accordingly.
D. Crowd Source Reviewing
Retailers too are embracing the public review process. Amazon.com epitomizes the trend toward user
participation in the sales process, as it allows for open review of its products and services directly on the
website. Not only can users rate products on a five star scale system, they can write narrative comments
and editorials, many of which span several paragraphs. Users can also rate and comment on other users’
comments. For example, one user post might note that “554 of 657 people found the following review
helpful.” This is a means of establishing credibility, and the more users who have reviewed a particular
comment, the more weight it is likely to carry.
As of March 2011, The Help had 3,095 customer reviews, and 2,472 users gave it 5 out of 5 stars.
Though, as noted, The Secret Life of Bees’ Amazon page has changed since its initial release in 2002, as
of March 2011 it had 1,557 customer reviews and 876 users gave it 5 out of 5 stars. Once again,
individuals are demonstrating a strong desire to share their feedback with the public.
54
This all seems to trace back to the word-of-mouth phenomenon, as skeptics of mass media turn to
friends, family and “people like me” for advice. The popularity of crowd source reviewing, as illustrated
by the thousands of unique user comments on Amazon, represents a virtual power check on traditional
business. The general public is replacing established authorities in the review process, and anything is fair
game. In the new balancing of the scales customer satisfaction is golden; dissatisfaction is fatal. This
means that it is more important than ever for marketers and publishers to be sensitive to the thoughts,
needs and demands of stakeholders. People are talking and it could be ruinous not to listen.
Section IV. Third-Party Endorsements
Third-party endorsements refer to promotion of the book by an entity or authority independent of the
book’s author and publisher. The term ‘authority’ is meant to separate these advocates from informal,
individual bloggers. This category seeks to determine the number of official opinion leaders—whether
distinguished by a certain area of professional expertise or some level of celebrity status—who helped
publicize each book. Nominations for awards were also treated as third-party endorsements, so long as the
organizations and institutions sponsoring the award held demonstrable repute in the community.
Third-party endorsements were researched through the publisher and author websites, as well as in
the content of the articles and reviews cataloged in Appendices A and B. Again, the endorsements were
limited to the first two years of publication. This means that a number of endorsements for both books
were omitted. The intention was to capture patterns and trends in the early stages of promotion; later
testaments to the books’ success were not germane to this study as, by that point, the books were already
well credentialed.
Ultimately, this category of study did not yield significant findings to suggest any major change in the
last decade. Both authors featured blurbs and reviews by fellow authors on their webpage. An example for
each book is cited below:
55
For The Secret Life of Bees:
“Sue Monk Kidd’s eccentric, inventive, and ultimately forgiving novel is reminiscent of the work of
Reynolds Price in its ability to create a truly original Southern voice.”
--Anita Shreve, author of The Pilot’s Wife
For The Help:
"A magical novel. Heartbreaking and oh so true, the voices of these characters, their lives and
struggles will stay with you long after you reluctantly come to the end."
—Robert Hicks, New York Times Best-Selling Author, The Widow of the South
This is standard practice in the business, and praise from peers often becomes a sort of catchphrase to
be used in marketing materials or even reprinted on the book’s cover or jacket flap. When The Secret Life
of Bees came out a Publishers Weekly Forecast speculated, “Blurbs from an impressive lineup of women
writers—Anita Shreve, Susan Isaacs, Ursula Hegi—pitch this book straight at its intended readership”
(2001). These quotes could be largely orchestrated and arranged through the efforts of the publishing
company, but this study lacks the insight to make such assumptions—a major limitation.
Other third-party endorsements distinguishing the two book campaigns were as follows:
The Secret Life of Bees
 Book club selection for The Literary Guild and Book of the Month Club21 in 2002
 Nominated for the Orange Prize, the United Kingdom’s largest annual literary award for a single
novel22
 Chosen as a Good Morning America ‘Read This!’ Book Club selection by the Jane Doe Book
Club of Raleigh, NC. It was announced on the October 10, 2002 broadcast of the show.23
 Nominated for Audio of the Year in 2003 (audio version)24
 Finalist for the 2003 Book Sense Book of the Year Award for fiction. Book Sense represents
independent booksellers in America.
 Winner of the 2003 SEBA Book of the Year Award for fiction, which is given annually by the
Southeastern Booksellers Association to honor a novel of exceptional merit that is set in the
South or by a Southerner.
 Finalist for the 2003 Boeke Prize for fiction, which is South Africa’s top literary prize.
21
It was also selected for the Doubleday Book Club, but because this is an imprint of Penguin, it does not count as a
third-party endorsement
22
The Secret Life of Bees was long-listed for this award in 2002
23
Each month the ABC national morning television show features a book as their book club selection
24
The audio version of The Secret Life of Bees was narrated by Jenna Lamia
56
The Help
 Reading guide featured in the May 2010 edition of O, The Oprah Magazine
 Chosen by country music artist Kellie Pickler as the read for her inaugural book club meeting;
publicized in a March 2010 edition of People magazine
 Given a rating of 3.5 out of 4 stars by People magazine
 Selected as the 2010 Southern Independent Booksellers Association Book of the Year for Fiction
 Selected as the 2010 Indies Choice Book of the Year (Adult Debut)
 Featured on the Today show’s “Ten Must-Read Books for Spring,” which was presented by John
Searles, editor of Cosmopolitan magazine.
One notable difference in the endorsements of the two books is the fact that endorsements for The Secret
Life of Bees were heavily concentrated in the literary industry, while endorsements for The Help came
from a blend of literary and entertainment sources. This could be attributed to The Help’s simultaneous
movie campaign, but it could also be indicative of a larger trend in convergence across sectors.
The Help’s instant rapport with the entertainment industry—with celebrity endorsements by
Kellie Pickler and John Searles of Cosmopolitan magazine, as well as the support of People magazine and
the prestigious DreamWorks Studio name behind its film production—may have had considerable
influence in the book’s rapid rise to success.
With music, videos, games and other diversionary content accessible anywhere and anytime, the
competition for consumer attention is higher than ever. Marketers are recognizing the need to synthesize
an element of entertainment into their products—whether contextually or aesthetically—to capture
interest. In the future, this suggests that book marketers should look beyond the literary industry for
promotional opportunities. That is not to say that endorsements within the industry are ineffective; The
Secret Life of Bees was an equally quick bestseller and the recognition it earned from prominent literary
institutions and organizations undoubtedly played a critical role in its success. But, as pop culture seeps
further into every aspect of life, it too could become an essential piece of the marketing pie.
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Section IV. Author Accessibility
Author accessibility measures the extent to which the author was visible to the public and
available to fans. This could be achieved through an author website or blog or book tours and events.
Both authors used an online and offline strategy, which will be compared below.
A. Website/Blog
Each author has a personal website, featuring her book and other accomplishments.
The web addresses are:
www.suemonkkidd.com for Sue Monk Kidd (see Fig. 6 below) and
www.kathrynstockett.com for Kathryn Stockett (see Fig. 7 below)
Fig. 6. Sue Monk Kidd Author Website
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Fig. 7. Kathryn Stockett Author Website
The websites were comparable in content. Each had a separate landing page for the book
(description and excerpts); the author (biographical information); news and events (dates of book readings
and signings, as well as media recognition and other honorary events); and praise and reviews. One
notable difference was Sue Monk Kidd’s Reflections page, which served as an online journal for her to
record her “Thoughts on Writing.” Kidd addresses the reader directly through this feature and offers
insight into the process behind the development of her book. Kidd’s website also differed from Stockett’s
in that her second novel (The Mermaid Chair, which she went on to publish after The Secret Life of Bees),
as well as all her older nonfiction works, are also featured on the site. Her longer career logically means
that her website has more content than Stockett’s.
Stockett’s website clearly lacks a feature comparable to the Reflection page. But, Stockett
provides contact information for her publicist and agent for media interview and appearance requests and
rights inquiries. Her website also links directly to the Facebook page. There are no personal elements or
insights on the website, and it seems to be more of a commercial tool intended to direct traffic to other
book resources. This actually runs counter to the trends in more personalized communications seen in the
59
other categories reviewed. It could be attributed to author preference; Stockett may enjoy more privacy in
her career or prefer to communicate with readers through other mediums (email, phone, face-to-face,
etc.). Or, it could simply be that, as in other industries, the changes in communication are still unfolding.
B. Book Launch Tour and Author Events
Both authors are active in the public and speak openly at book clubs, do signings and participate
in other industry-related events. While this seems to be an important part of promotion for both Kidd and
Stockett, this study questions the future of the traditional book tour with the proliferation of alternate
channels for reaching out to consumers. With the digital technology to meet and interact with readers in
virtual forums, authors could potentially reach audiences across the world without actually leaving their
hometown. This is a practice that has yet to be explored, and as such, this study still considers the author
tour as an important element of the book campaign.
Kidd undertook a ten-city author tour to promote The Secret Life of Bees upon its release in
January 2002. By the time her next novel, The Mermaid Chair, came out in March of 2006, Kidd had
added a “Book Tour Journal" component to the Reflections page on her website. It chronicles her
experiences as she hits the road to promote the book, speaking in bookstores, libraries, churches and other
venues across the country. In one entry Kidd recalls a stop on The Secret Life of Bees hardcover tour
when only one woman showed up for her event, and they spent most of the time looking at pictures of her
grandchildren.25 This stands in stark contrast to her 2006 tour, in which she signed 600 copies of The
Mermaid Chair in an hour and 15 minutes at a Borders in San Diego.26
Although this study lacks insight into the details of Kidd’s first author tour with The Secret Life of
Bees, the contrast between the seemingly scant turnout at this tour event and the overwhelming success of
The Mermaid Chair tour in 2006 could indicate a number of changes. One is of course that the fan base
Kidd garnered with her first novel helped generate turnout for later promotional events. In fact, in a 2005
25
26
Suemonkkidd.com. “Book Tour Journal, Part I.” 5 Apr. 2006.
Suemonkkidd.com. “Book Tour Journal, Part I.” 8 Apr. 2006.
60
Newsweek article Kidd reveals that roughly 80,000 people begged for a sequel to “Bees” (Jones). This
simply reaffirms the long-standing trend that the road to success is a bit smoother with a few trophies
under one’s belt.
However, another factor that could have boosted turnout for Kidd’s second tour is the
proliferation of communications tools for promoting the tour. Facebook’s debut in 2004 meant that Kidd
had a presence in social media by the time The Mermaid Chair came around, as well as increased traffic
to her personal website from the visibility gained with her first novel. This is an area for future research,
as this study currently lacks key insights into other promotional elements of the campaign (such as the
possible use of email lists, direct mailers and other communications tools).
The study is similarly lacking in insight into the author / publisher side of promotion for The
Help. Based on the author’s website and other media coverage, it is known that Stockett actively attends
book festivals,27 speaks at events and holds book signings. According to the Events page on
www.kathrynstockett.com, The Help is out in paperback on April 5, 2011 and she will hit the road in May
to promote the book in libraries, museums and other venues across the country (a detailed list of stops is
included on the web page). The author website and Facebook page are two useful publicity tools for these
events, but again, insight into the specific, behind-the-scenes tactics would be helpful in understanding
how this tour might differ from past ventures from a communications standpoint.
With more resources for gaining access to the authors online, including author websites and
social networking sites, there is more potential than ever for authors to interact with readers and fans. In
terms of accessibility, Kidd actually seems more willing to give her fans a behind-the-scenes look, as
illustrated by her journaling on the Reflections page (although this is irrelevant to The Secret Life of Bees
campaign). Neither of the book campaigns used any of the bidirectional communication mediums
prevalent on the Web today.28 The most either author interacts with the public is ostensibly through wall
For example, she spoke at the Decatur Book Fest, which is held in Atlanta and is the largest independent book
festival in the country. Stockett spoke in September 2009 as part of a “New Voices of the South” segment on the
Decatur Presbyterian Sanctuary Stage (Brett).
28 For example, posting open access content and hosting forums for reviews and discussion
27
61
posts, discussion threads and other updates to Facebook, though Stockett’s profile page actually indicates
that it is managed by Octavia Spencer rather than the author herself.
Nevertheless, it is clear that all of the outlets for reader reviews and discussion are being taking
advantage of (as evinced by the research on blogs and crowd source reviewing), and this seems to be
giving authors a heightened sense of accountability to the audience. In a Time interview with Claire
Suddath, Stockett discusses her undertaking of a second book:
“It's a scary process. I sit in my little office and I feel like I've got all my readers staring at me.
The first book you write because of the way it makes you feel. The second one you can't help but
wonder how it's going to make the reader feel. That's something I'd never thought about before.”
This could be a significant challenge in the writing process (depending on the author’s style), but it could
also present a valuable promotional opportunity. By integrating readers into the creative development
process, and providing materials for review and sharing to prompt public discussion, authors could
generate buzz before a book is even released. It is an innovative means of facilitating a book’s reception
and accelerating its spread through selected networks.
The Outsell Inc. study of e-book marketing activities reveals that the creation and support of
author websites still played a significant role in promotion in 2010 (see Fig. 1). Advances in media
technology, content convergence and interactive formats continue to enhance the potential for this
marketing tool. As authors and audiences gain access to a limitless number of communications tools to
incorporate into their own, customized forums and pages, the writing of the book itself could transform
into a collaborative effort. Again, the possibility of a reversal from a top-down to a bottom-up business
model is emerging in the publishing industry.
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Section V. Publisher Efforts
The Outsell Inc. study of marketing activities for e-books put “social community building and
marketing through [the] book publishing company’s own websites” as the leading activity at 18.9 percent
of the promotional mix (See Fig. 1). Both The Secret Life of Bees and The Help are products of Penguin
Group (USA), though it should again be noted that The Help was actually published by Amy
Einhorn/Putnam, a smaller new imprint of Penguin Group.
Despite the fact that both Kidd and Stockett were first-time authors in the trade-fiction category,
their books had a significant advantage in terms of resources and expertise. Given that Penguin is one of
the top publishers in the world (Epstein 11), its name can prompt instant brand recognition and establish
credibility in the consumer marketplace.
Although Penguin’s backing was an advantage in the books’ promotion, it is a major limitation to
this study. A well-established enterprise, Penguin is adept at getting its books into the hands of the right
readers. Its influence on The Secret Life of Bees’ and The Help’s success is likely to have been substantial.
While it is impossible to quantify or measure the role of each promotional element contributing to
success, Penguin’s weight does have the potential to dilute the influence of alternate tactics and resources.
However, with evidence in other sections of this study to suggest change in the traditional business
model, it is possible that the role of the publisher is changing too. In fact, the findings of this section
indicate that publisher’s are already modifying certain tactics to conform to a progressive media
environment and marketplace.
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A. Website
On the whole, the book / author pages on the Penguin website reflect a transition from one-way
promotion to bidirectional communication. Both books are searchable on Penguin’s main website,
us.penguingroup.com. For each book, the feature page includes an “About the Book” section with a plot
summary and excerpts; materials for reading groups, including discussion questions; an author profile
with basic background information and a “Q&A” section; and a virtual “shopping cart” in which
consumers can save books for future purchase.29
The Help page includes a number of additional features to distinguish it from The Secret Life of
Bees’ page. First is the incorporation of multimedia.30 The web page gives readers access to an audio clip
of an excerpt from The Help, an interactive map that readers can update to show their location, and videos
of Stockett in media interviews. Another new component is a Community page where users can upload
photos and videos, write comments and respond to the comments of other users. Users must create a
profile and login name to join the “Penguin Community,” which then allows them to join specific book
groups. The Community page also links to a Penguin Blog that covers author-related events. (For
example, the most recent blog update for The Help was titled “Kathryn Stockett at the Caroline Center”
and included photo coverage of the event in which Stockett addressed over 1,000 fans of the book in
Baltimore, Maryland).
Unlike The Secret Life of Bees page, The Help page also includes a separate Media landing page
with links to past and current news articles related to the book and author.31 There is also a Connect With
Us section linking to Facebook, Twitter and the author website (shown in Fig. 8 below).
29
As of 2011, both books are available in paperback, hardcover, audio and eBook editions on the Penguin site,
although this was not the case at the time of The Secret Life of Bees’ launch in 2002. Points of purchase and online
availability are further discussed in Section X. (See Appendix X for a screen shot of the website as it appears in
March 2011.)
30
As of 2011, The Secret Life of Bees page does include a trailer for the movie, but this is irrelevant to the study of
the book’s promotion in the initial launch period.
31
Penguin’s inclusion of media updates on The Help page and not The Secret Life of Bees page could also have to
do with the fact that The Help is still in the media spotlight because it is just now making the transition from
hardcover to paperback (set for release in April 2011).
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Fig. 8. The Help on Penguin.com (USA)
These additional components reflect a broader progression, from simply presenting a book and its
background information on a website, to incorporating entertaining and interactive elements into
promotional features. While The Secret Life of Bees page limits users to reading about the book, The Help
page invites users to choose their method of consumption—reading, listening to audio clips, viewing
videos or actually writing and uploading their own content. Here, web surfing becomes an engaging,
multi-sensory experience. As the resources and technologies driving these interactive elements advance,
the sensory experience is likely to become an even more central part of the promotional mix.
This mirrors predictions by technology experts who point to convergence across the film, music,
television, print and online industries as the future of the media environment and of communication
65
across sectors. In addition to integrating multimedia content into their websites, publishers are likely to be
looking for equally sophisticated distribution and creative opportunities in the future. Making content
accessible across platforms—including e-readers, tablets and smartphones—is just the starting point. The
opportunities are limitless and growing still; this is truly a dynamic moment for the industry.
B. Advance Galleys and Early Notice
It has been mentioned several times that the lack of insight into the campaign from the author and
publisher’s point of view is a limitation to the study. This is particularly true in understanding what kind
of efforts went into promoting the book in the pre-launch period. Sending galleys—advance copies of the
book—to trade publications and agencies for review is a long-standing custom in the industry, and it
doesn’t seem to be going anywhere. The Outsell Inc. report shows that “e-book galleys and/or advance
reader copy distribution” represent 13.5 percent of the promotional mix (See Fig. 1 in the Appendix). This
practice is a strategic means of getting key players on board to build momentum before the actual release.
As mentioned, Penguin is an industry leader with deep resources and a well-established network.
Moreover, given Penguin’s history of success, the company name carries clout inside and outside of the
industry. Though the study did not have a contact within the company to confirm, it is likely that Penguin
actively campaigned in literary networks before the books were released to the general public. Publishers
Weekly included a gushing review of The Secret Life of Bees in the “PW Forecasts” section of a
November 2001 edition—two months before the official release of the hardcover version. No coverage
was found for The Help in trade publications before the book’s official hardcover release, but the author
website features advance praise of the book in the form of quotes and blurbs from fellow writers.
Based on the technological advances discussed in the literature review, new content distribution
mechanisms are improving efficiency exponentially. Emerging digital formats mean that books can be
delivered to select readers and reviewers in a timely, economical manner (assuming that these publics
have the appropriate reading devices).
66
The implication here is that it is possible to circulate books in target audiences in advance of the
official printing process, giving authors an opportunity to gauge reactions and generate buzz before
launching a full-fledged campaign. The constructive insights gained could be used to shape a more
effective long-term marketing plan, and the collaboration need not end there. As discussed in the other
sections of the case analysis, the opportunities for audience feedback and participation are diffuse and
persistent, meaning that reader insights could continue to drive the promotional process even as it unfolds.
This supports the idea of the bottom-up business model, but it also suggests that the entire process—from
production to distribution and promotion—could be a dynamic and collaborative effort.
Section VI. Channels of Distribution/Online Availability
Channels of distribution/online availability refers to “points of purchase” as it is termed in marketing
language. This section of the study required the cataloging of all resources available for online purchase
of each book within the first two years of publication. The time frame was particularly important because,
as of 2011, both books are available in virtually all of the same formats. So, for the purpose of
comparison, another Google search with a custom range on dates was used to limit results. As with the
blog search, the dates were January 2002 through January 2004 for The Secret Life of Bees, and January
2009 through January 2011 for The Help. Vendors were limited to the United States, although both books
are internationally available.
There were 11 online resources for purchase of The Secret Life of Bees within in its first two years of
publication. For The Help, there were nearly three times as many online resources for purchase in its first
two years of publication (with 30 distinct points of purchase, as shown in Table 2 below). Basically, this
means that it is becoming easier to access content and obtain books online. With all of the digital
communication surrounding books, it is only logical to incorporate digital resources to facilitate actual
sales.
67
The points of purchase were also broken down by the formats offered (audio, print, digital or any
combination thereof). Audio included any cassette, compact disc and/or podcast version of the book. Print
included paper or hardback editions of the book. Digital included all formats (from ePub to PDF)
available for download or online reading. The results are shown in Table 2 below (for a complete list of
points of purchase and web addresses, see Appendix E).
Table 2. Online Availability of the Books:
Points of Purchase Categorized by Formats Offered
Audio
Print
Digital
Audio & Print
Audio, Print, & Digital
Total
The Secret Life of Bees
2
3
1
5
0
11
The Help
6
9
10
0
5
30
As expected, the results mirror the recent changes in technology. While audio and print formats
dominated for The Secret Life of Bees, The Help was widely available in audio, print and digital formats.
The rise in availability of digital formats from 2002 to 2009 is a predictable outcome of the decade’s
technological advances, but the availability of digital formats for The Help also reflects the ubiquity of
these changes. While only 9 percent of the online points of purchase for The Secret Life of Bees offered
digital versions of the book, 50 percent of the online points of purchase offered digital versions for The
Help.
Interestingly, the percentage of online resources (shown in Fig. 9 below) offering audio versions only
and print versions only were relatively stable for the two books (18.2 percent for Bees and 20 percent for
The Help (audio only); and 27.3 percent for Bees and 30 percent for The Help (print only), as shown in
Fig. 9 below). So, the increase in points of purchase for digital formats does not necessarily mean that
audio, print and other traditional formats are less available. Choice seems to be the name of the game, and
the more options consumers have for purchase, the more they will gravitate toward what is personally
convenient.
68
Fig. 9. Breakdown by Format
(as a Percentage of Total Online Points of Purchase)
The Secret Life of Bees The Help Audio 0 18.2% 45.5% Print Audio 0 16.7% 20% Digital Print Digital 27.3% 9% Audio and Print Audio Print and Digital 33.3% 30% Audio & Print Audio Print and Digital It is also noteworthy that by the time The Help was published, a substantial number of small,
independent bookstores had established an online presence through which consumers could order print
and/or audio versions. This suggests that the Internet is providing brick-and-mortar retailers an
opportunity to stay competitive in the evolving market.
69
CONCLUSION
The objective of this study was to identify best practices and opportunities for book promotion in
an evolving market. Based on the categories reviewed in the case study analysis, a few summary points
will be made in regard to each promotional tactic.
Traditional Media Reviews and Articles: Earned media coverage in traditional reviews and articles is
still of central importance to trade book promotion. Pitching the book from a newsworthy angle is an
attention-building strategy. Narrative and conflict were found to be effective in gaining interest. Niche
marketing and creative coverage in specialty outlets beyond the literary industry could also be on the rise.
Media tie-ins and cross promotions related to the entertainment industry seem particularly powerful.
Blogs: Blogs are quickly becoming an integral part of the promotional process, evidence of an
increasingly social media environment. Sharing and expression of personal opinion is important to the
public, and blogs provide a safe and informal outlet for readers to do so. In terms of book promotion,
blogs enable credible and personalized endorsements.
Social Media and Community Building: Social media also fosters engaged readers and consumers.
Networking tools like Facebook, Twitter, and Goodreads allow readers to share thoughts and feelings
with wide audiences in real time. These and other mechanisms—like crowd source reviewing on the
Amazon website—empower readers to act as book advocates or critics. With these powerful
communication tools and extensive networks at their fingertips, ordinary individuals are becoming trusted
book marketers and reviewers. Their output provides valuable insights to guide authors in future
endeavors.
70
Third-Party Endorsements: Third-party endorsements play an important role in trade book promotion,
though the outpouring of opinion by ordinary individuals in new media outlets could eventually
undermine dependence on formalized advocacy. The case study analysis suggests that reliance on support
from authorities within the literary industry could already be waning. As such a tailored, creative
approach to book promotions outside of the literary industry could be an effective strategy for the future.
Author Accessibility: As readers demonstrate a desire to engage with book content, share ideas, and
interact with other readers, authors should create opportunities to collaborate with fans. Interactive
websites, online promotion of events, and even virtual meetings are all possibilities. Communication is
moving from one-directional to multi-dimensional, and this dialogue could make authors and publishers
accountable to fans.
Publisher Efforts: Publishers seem to be modifying communication efforts to keep up with the evolving
mediascape. The feature pages reviewed on the Penguin Group website reflect trends toward social,
personalized and interactive promotional tools. Multimedia content is also enhancing the sensory
experience and could serve to deepen reader engagement. The ease of content distribution also presents
opportunities for integrating readers into the promotional process during the pre and post book launch
period, with marketing materials tailored to their input.
Channels of Distribution: Online points of purchase seem to have evolved hand in hand with
technology, as the book formats available mirror advances in the sophistication of content distribution
options. Integrating digital technology into both the communication and distribution components of the
book’s campaign could become central to success in future years.
71
Limitations and Areas for Future Research: A number of limitations are noted throughout this study.
One major drawback is the increasingly fluid concept of the “bestseller” in a decentralized and
fragmented marketplace. While The Help and The Secret Life of Bees are considered as exemplary trade
book campaigns based on their rankings on the New York Times Best-Seller List, this criterion for success
is largely subjective and may need updating in the future.
Marketing, too, is becoming a subjective term as user-generated content floods the marketplace.
With technology paving the way for multidirectional communication, it is becoming ever more difficult to
separate where marketing efforts end and the consumer influence begins. This difficulty is compounded
by the nature of the product itself, given that each trade book is a singular commodity with unique appeal.
Thus, the promotional campaign is nearly impossible to quantify, though popularity seems to be a
reasonable gauge for now.
Finally, it is certain that the study of book marketing will need to be revisited as technology
continues to progress at warp speed. E-books are just now catching on in the mainstream marketplace,
and at last, a wholesale digital transition seems imminent. As print fades into the past, marketing efforts
will need to keep pace with these highly efficient production processes. The promotional tactics of 2002
and 2009 examined in this study are quickly being outmoded by the proliferation of handheld reading
devices, self-publishing venues and virtual capabilities. A study focusing solely on these new strategies
would undoubtedly be of value for the future.
Nevertheless, the present study highlights a robust potential for the sophistication of existing
tactics. An increasingly social, interactive media environment is allowing readers to express every
thought and wish desired with regard to a book. This makes ordinary individuals an instrumental part of
the publishing process, as authors and publishers find themselves more accountable to a public armed
with rich and diverse communications tools. In this sense, marketing can come from the bottom-up, with
personal preferences dictating success or failure. From pages to pixels, the book trade forges on at the
hands of the people and the future is promising.
72
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APPENDIX A
Media Coverage for The Secret Life of Bees
75
76
77
APPENDIX B
Media Coverage for The Help
78
79
APPENDIX C
Blog Coverage for The Secret Life of Bees
80
APPENDIX D
Blog Coverage for The Help
81
82
83
84
APPENDIX E
85