Sunday

The 20th Anniversary of The First Book Ever Promoted Online

Ladies and Gentlemen:
The First Book Ever Promoted Online
By Sarah Pinneo


It was August, 1992, and I was living on H&H bagels and working my dream job as a summer intern in the marketing department of Random House. In the August heat, I was more concerned with catching the bus down Lexington Avenue than I was with the possibility that the publishing industry was about to undergo another great wave of consolidation.

That month I reported to the energetic Carl Lennertz, now the executive director of World Book Night in the U.S. Carl was the marketing manager for the Knopf and Pantheon imprints. One of the books in his charge was James Gleick's Genius: The Life and Science of Richard Feynman which would be published a few weeks hence.

Carl was ruminating on the age-old question of how to reach the book's untapped readership. For Genius that target audience included, in addition to the usual intelligent laypeople, the world of physics geeks—the sort of pocket protected, slide rule wielding nerds who might not find the book in their local bookstores. (This was 1992, and local bookstores were not yet an endangered species.)

Somehow, in his dusty office stacked with a thousand books and a great many empty wine bottles, he hit upon the idea of exploring the earliest online gathering places. At the time, very few people had even heard of Compuserve, Delphi, or the earliest version of America Online. It would be a few years before AOL became infamous for direct mailing the latest version of their software as frequently as copies of the Pottery Barn catalog arrived. To gain access then, one needed a floppy disc, and these could be found in computer magazines like PC and PC World.

Carl handed me his corporate credit card and a few of these discs. “Why don’t you see what you can do,” he said.

When I called Carl to ask him if he remembered our early stab at online innovation, he laughed. “I'm still that guy,” he said, “who waves his arms around and tells the intern to ‘go try it. It might work.’”

Stumbling through text-only message boards, I found a few which were pitched at the discussion of science. To the readers there I offered a glossy, paperback excerpt of the book to anyone who would leave us his home address in the forum. I posted this offer, and then made careful notes so that I could find my way back to the geeky depths where the forum lived. There was no bookmarking. There was no browser, and no search engine. Finding ones online tribe in 1992 required an affinity for old school modems, and a bit of determination.

But even if the technology wasn’t modern, the reaction was. A few respondents were tickled to receive our giveaway. "Physics is my thing," one of them wrote. To each of these welcome readers, I addressed a padded envelope, which I then walked to the mail room. (NetGalley wasn't even a twinkle in anyone's eye. Not yet.)

But many of the forumgoers were upset.How dare you commercialize this place!” they howled. There were more bitter voices than words of encouragement. It was enough to give a 20 year old intern pause. Had I done something wrong? But I’m only offering a gift!

I emailed Mr. James Gleick himself recently to let him know that I thought Genius was the first book to ever receive online promotion. “Why didn't I know about this at the time?” he asked.

Well, sir, your 20 year old intern had no idea that she had just been the first to utilize the medium which would come to dominate book promotion. The Steve Jobses of the world may have known exactly what they were doing at those moments of innovation, but some of us are the Forrest Gumps of history, coming by accident upon the next great thing.

As for the reaction to our commercial plug, Mr. Gleick was not surprised. “It’s amusing for sure,” he wrote. “It was only a year after that when I started an Internet gateway of my own, and I remember the lovely anticommercialism of it all.”

Those days are over, and apparently I helped in some small way to ruin them.

The online book giveaway has gone mainstream. As I write this there are over 1,500 titles up for grabs to the lucky contestants at Goodreads. Though word of mouth feels as elusive as ever, twenty years of technological improvements have made finding those target readers at least a little bit easier. But even if those readers are easier than ever to find, our methods of suasion have little changed. Authors and their publicists daily walk the same line, attempting to gain exposure for their own works without irritating the other members of their shinier, more navigable online tribes.

The more technology changes, the more the central problem—urging readers towards the check-out—stays the same.

Oh  and if by chance I've erred in claiming this prize—if some other intern happened to promote a title online previous to that sweaty summer of August, 1992, I humbly apologize. In fact, I'll happily hand over the trophy. But please understand that it will arrive by .pdf file. Padded envelopes are for dinosaurs.



Book Review: Wired for Story by Lisa Cron



By Sarah Pinneo

I was intrigued by Wired for Story by Lisa Cron the first time I read the subtitle: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence. Whenever I'm writing fiction, or revising it, I spend plenty of time wondering about that mysterious juncture between what the author intends and the reader receives. If that illusive nexus were easier to understand, then anyone who's ever read a great novel would be able to write one.

The book, published in July by Ten Speed Press, aims to help authors understand what goes on in a reader's brain while reading fiction. What self respecting author of fiction wouldn't want to know that? From the back cover:

Imagine knowing what the brain craves from every tale it encounters, what fuels the success of any great story, and what keeps readers transfixed. Wired for Story reveals these cognitive secrets--and it's a game-changer for anyone who has ever set pen to paper.

The book delivers on the promise of this examination, but it does so for a fairly novice writer. Each chapter begins with a cognitive secret and a corresponding story secret. For example, chapter four begins with a Cognitive Secret: Everything we do is goal directed, and our biggest goal is figuring out everyone else's agenda, the better to achieve our own. And the Story Secret: A protagonist without a clear goal has nothing to figure out and nowhere to go. What follows is very solid writing advice, but often of the sort that you will read in many worthy books about story. Often this advice wanders away from the brain theory that supposedly drives the book, i.e. a discussion about body language in chapter three, and a lengthy discussion of the pros and cons of outlining in chapter five.

But chapter 10 "The Road from Setup to Payoff" is especially tight and useful, and delivers most effectively on the book's original promise--to help the writer understand the reader's experience. And I couldn't help thinking back on it as I struggled to put my finger on weaknesses I perceived in a novel I read this weekend. The book was all head and no heart (a clear violation of Wired for Story's chapter 3!) and contained a lot of 17th century medicinal detail which, in the end, was not relevant to the plot. (Violation of chapter 10!)

If you are interested in exploring the subconscious brain's reaction to story elements, give Wired for Story a try.

Disclosure Statement: I received a free copy of Wired for Story when I expressed interest in reviewing it.

Donald Johnson and the Marvelous Book Trailer

I brought my children to watch author and illustrator Donald Johnson draw and read from his unique new picture book Magritte's Marvelous Hat. And while the children sat drop-jawed as Johnson made the character appear on a pad of paper in front of their very eyes, it was the adults who asked all the questions afterward.

Publicity geek that I am, I couldn't help but ask Johnson how he promotes his work. To my surprise, he said he'd just made a book trailer. I was surprised, as I assumed that a picture book would be too short for a book trailer.

I was wrong.

The picture book uses a special technique, whereby four transparent pages add a level of surrealism to the illustration as pictured are altered with the turn of a page. A book trailer helps to demonstrate the effect.

The trailer is so polished that I asked Johnson how he'd done it.
I was a film student in grad school (School of the Art Institute of Chicago) so this project was particularly enjoyable to me. Since the book's final art was already in digital form (Photoshop files) it was easy to animate using Photoshop Timeline Animation. I exported the animation to Apple's iMovie 11 (a really intuitive yet powerful movie making program), added some transitional effects and music, but not the titling--that was all done in Photoshop where the choices and quality of typefaces are better. I searched online for a short piece of music that would evoke both the playfulness of the story as well as a sense of Paris in the 1920s, then purchased the rights to use it.My goal was to bring it all together under 2 minutes which seems to be the standard for picture book trailers--and probably also pushes the limits of viewer attention span and file size for streaming. 
It's the third one I've done--and the one I feel from an artistic perspective at least, is the most successful. I think it captures the transparent page turns, the 1920's (movie captioning), and the surreal nature of the imagery--yet doesn't reveal the entire plot. It leaves the viewer wanting to know more. 
I don't have any way to measure the promotional value of the trailer, but it has given me just one more opportunity to remind people that the book is out there and present its themes in an entertaining way.
You can see Johnson's trailer here, or visit him on his website.

Monday

When the Blurb is on the Other Foot


Carolyn Roy-Bornstein's memoir CRASH: A Mother, A Son, And the Journey from Grief to Gratitude, about the car accident which temporarily derailed her son's life, goes on sale in a few short weeks. She was recently given the opportunity to consider what it feels like to find that the blurb is suddenly on the other foot.

By Carolyn Roy-Bornstein

I recently received my first request for a book blurb. It came in a flattering email from a New York literary agency. The author of the book, the agent claimed, was an admirer of my work. (Really?) The agent also theorized that someone of my “name recognition” could do a lot for the book’s visibility. More swoon-worthy words I’ve never heard.


I considered the solicitation carefully. I researched the authors. Check. Two bona fide MDs (both from Mass General no less.) The principal author had a web site complete with articles and interviews. I looked up the book on Amazon. Yup. It was legit. Part of a series of medical books edited by a physician who had blurbed my book for me. Ah, the mystery was becoming clearer. She must have been the one to suggest my name as a possible blurber. So I wrote back to the agent and told her to send the book along. I would certainly give it a close read.
    
The book came in the mail a few days later. It is a series of vignettes about children treated at the APS—the Acute Psychiatry Services—of Mass General Hospital. I read the first vignette. I read the last. I read all of them in between. And I genuinely liked the book. I thought it was honest, accurate, candid and well-written. Thank goodness. I’ve heard about blurbers whose criteria for blurbing books is rather minimal. In A.J. Jacobs’ humorous essay published last month in the New York Times, “How to Blurb and Blurb and Blurb, he quoted fellow blurber Gary  Shteygnart’s list of essentials as, “Two covers, one spine, at least 40 pages, ISBN number, title, author’s name.” I did not want to be that blurber.
     
But I did want to pay it forward. So many wonderful writers took the time to read my book and craft glowing blurbs. Lee Woodruff. Caitlin Flanagan. Heady stuff. I am so grateful to all of them. My blurb request for the psychiatrists’ book came post-publication—too late to land me on the back of a book jacket. For now, the long version of my quote is on the author’s web site. Later a shorter version will be up on-line. So I’m not getting all the attention a blurber usually receives. But that’s not why I’m doing it. I’m doing it because someone did it for me. I’m doing it because I have found writers, in general, to be supportive and generous and helpful. And that’s the kind of writer I want to be.