Our key themes include the unique challenges of promoting fiction, the critical distinction between earned and paid media, the power of strategic content creation, and the importance of building sustainable author communities.
Thank you
, , , and many others for tuning into Part 2 of my live video with veteran book publicist ! And apologies for our technical difficulties. I’m releasing videos of both parts of our chat in tandem. Check Part 1 out HERE:Part 2 is actually longer and meatier than Part 1, where we were just warming up when we got cut off! So settle in here, because our key themes include the unique challenges of promoting fiction, the critical distinction between earned and paid media, the power of strategic content creation, and the importance of building sustainable author communities.
Megan Beatie is President and CEO of Megan Beatie Communications, a book publicity and marketing agency. She represents authors in nearly every conceivable genre including literary and commercial fiction, mysteries and thrillers, science fiction, fantasy, and nonfiction books. She’s forged publicity campaigns for bestselling authors like Linda Ronstadt, Robert Dugoni, Tess Gerritsen, Lee Goldberg, and Attica Locke, and she’s launched books by debut novelists such as Robinne Lee and Amber Smith.
Megan also is a marathon runner! She lives in Los Angeles, and she’s worked with me on the launches of two of my books, Gaining: The Truth About Life After Eating Disorders, published in 2007 by Hachette, and Glorious Boy, a novel published in 2020 by Red Hen Press.
This conversation is part of MFA Lore’s Well Published! live series with hot new authors and industry professionals about the truths and tricks of getting… well published!
SAVE THESE DATES for our next Well Published! live conversations:
AGENTS TODAY- Live with veteran literary agent
, Thursday, Oct. 9, 11am PT.NARRATIVE NONFICTION- Live with Pulitzer Prize-winner
, Monday, Oct. 27, 12 noon PT.
Book Publicity Insights: Key Takeaways from Aimee Liu and Megan Beatie
There are practical strategies here for authors at all levels, from those working with major publishers to self-published writers navigating the industry independently.
The Fiction Challenge: Finding Your Non-Fiction Angle
Promoting fiction requires a fundamentally different approach than non-fiction. While news media readily embrace non-fiction authors as experts, fiction writers must work harder to find their hook. The key lies in identifying the non-fiction elements within fictional work.
For fiction publicity, Megan employs a two-tiered strategy: targeting book reviewers and literary publications for traditional coverage, while simultaneously working with news media by uncovering compelling backstories. She illustrates this with a thriller author who was formerly a journalist and true crime writer—her expertise in media perception a decade ago became the news angle for her novel set in that era.
Aimee reinforces this approach by sharing her own experience with Cloud Mountain, where she used family photographs and the real story behind her Chinese-American family saga to create compelling promotional materials. Historical fiction particularly benefits from this strategy, as personal heritage and authentic family stories resonate strongly with both media and readers.
However, Megan warns against straying too far from the book itself. The expert positioning must maintain a clear connection to the work, ensuring that audiences understand why they should purchase the book after engaging with the promotional content.
Understanding Earned vs. Paid Media
One of the most crucial distinctions Megan makes is between publicity (earned media) and marketing (paid media). Publicity involves convincing journalists, producers, and reviewers that an author and book offer value to their audience without any monetary exchange. Success depends entirely on the publicist's ability to demonstrate that value proposition.
Marketing, by contrast, involves paid advertising—Amazon ads, Goodreads giveaways, and sponsored content. While marketing offers more control over messaging, timing, and placement, publicity provides the authenticity that audiences increasingly crave.
The evolution of social media platforms illustrates this tension. Megan recounts how early BookTubers on YouTube began as passionate readers creating authentic content, but as monetization increased, sponsored posts became less effective. Audiences can distinguish between genuine enthusiasm and paid promotion, making earned media more valuable despite being less controllable.
The Power of Essays and Authored Content
The conversation highlights the transformative potential of well-placed essays and articles. Megan shares the remarkable story of YA mystery writer Maureen Johnson, whose humorous essay "How to Not Get Murdered in an English Village" for CrimeReads garnered 400,000 views and ultimately led to a book deal and series based on the essay concept.
This example demonstrates why authors should "say yes to things"—the unpredictable nature of viral content means that seemingly small opportunities can lead to life-changing results. While not every piece will achieve such success, the potential for exponential reach through social media sharing makes authored content a valuable investment.
Aimee's work with literary journals and platforms like Lit Hub represents another avenue for building author platform and credibility, though Megan notes that literary journal publications serve more to enhance an author's resume and status than directly drive book sales.
The Reality of Different Publishing Paths
Megan provides honest insights into how publishing level affects publicity opportunities. Her preference for working with major publishers stems from practical considerations—the industry understanding that these books have been "selected, vetted, and produced to a very high standard" opens doors that remain closed to self-published works.
However, she acknowledges the success many self-published authors achieve, often retaining full creative and financial control. For these authors, she recommends focusing more heavily on marketing than publicity, since paid advertising allows for controlled targeting of specific audiences who might need the information or entertainment the book provides.
Small presses occupy a middle ground, with operations like Red Hen Press building supportive author communities and providing tools for self-promotion while maintaining the credibility advantages of traditional publishing.
Essential Self-Promotion Strategies
For authors without access to professional publicists, Megan outlines several fundamental strategies:
Platform Development remains crucial—a professional website and high-quality author photos are non-negotiable investments. Authors should avoid amateur iPhone photos and instead invest in professional photography that can be used across multiple promotional platforms.
Community Building emerges as perhaps the most important strategy. Whether through publisher networks, writing conferences, or platforms like Substack, authors benefit enormously from supporting and collaborating with other writers. These relationships provide mutual promotion opportunities and emotional support.
Local Engagement offers accessible opportunities, particularly for bookstore events. Bookstores need assurance they'll sell books at events, so authors must guarantee attendance by personally inviting their networks and committing to purchase through the store rather than directing people to Amazon.
Strategic Conference Participation can provide valuable networking opportunities. Events like Bouchercon welcome all authors regardless of publishing level, offering chances to appear on panels alongside established writers and build relationships that can lead to future collaboration and blurb opportunities.
Navigating Reviews and Professional Relationships
The conversation reveals the delicate dynamics between authors, publicists, and reviewers. Megan strongly advises against authors directly pitching reviewers, as critics prefer working with publicists who understand professional boundaries and can accept rejection gracefully.
This highlights the value publicists provide beyond just making connections—they serve as buffers who can handle rejection professionally and maintain relationships for future opportunities. For self-published authors, this presents a significant challenge in accessing traditional review venues.
Paid review services like Kirkus present a complex option. While some media professionals express skepticism about paid reviews, Megan suggests they might be worthwhile for authors choosing between a paid review and no review at all, particularly since readers may not distinguish between earned and paid coverage.
The Importance of Realistic Expectations
Throughout the conversation, both Aimee and Megan emphasize setting realistic expectations about publicity results. Even successful placements may not directly translate to measurable book sales, and the timing of coverage often falls outside anyone's control. Traditional media operates on its own schedule, and authors must accept this uncertainty.
The key lies in understanding that publicity builds cumulative momentum rather than generating immediate results. Each interview, review, or essay contributes to an author's platform and credibility, creating opportunities that may not materialize for months or years.
Building Sustainable Author Communities
The conversation concludes on a hopeful note about community building. Aimee's experience with Substack exemplifies how authors can create their own networks for mutual support and promotion. By organizing joint readings or promotional events, groups of authors can achieve the critical mass necessary for successful events.
This collaborative approach acknowledges the challenging reality of modern book promotion while providing practical solutions. Rather than competing with each other, authors benefit from recognizing their shared challenges and working together to amplify each other's work.
The overarching message is clear: successful book promotion requires persistence, community engagement, and a willingness to explore multiple avenues simultaneously. While the landscape continues to evolve, the fundamental principles of building authentic relationships with readers, media, and fellow authors remain constant.
