5 Tips for Successful TV Interviews

tv interview

By Marsha Friedman

(Marsha Friedman was the April speaker at Book Publishers Northwest)

It has been more than 70 years since television was first commercially available, and in that time we have seen the emergence of radio, wireless communications, the Internet, twitter, and social networking. However, one thing has remained constant in that time. Practically since the first broadcast over commercial airwaves, television has been the most powerful medium of them all – and that fact still remains true today.

A good television interview can change a life. It can change a company, an industry – and in some cases – it has changed the world. That’s why we specialize in helping our clients make the most of their TV interviews. In those few minutes of airtime, you can influence more people than any other communication method. So, to help our clients do it right, I’ve assembled a booklet that will soon be published on our Web site (www.emsincorporated.com) that contains 50 simple tips for doing the best TV interviews possible.

Periodically, I’ll share a few with you, like I’m doing today.  Let me start with my top five, to show you how easy it can be.

  1. Be energetic – This is your message and I’m sure you’re naturally excited about it – so channel your energy and make it work for you. If you are excited and positive, your audience will be very responsive.
  2. Be mindful of body language – TV is a visual medium, so be open with your body language. Make sure to lean slightly toward the interviewer when you are talking and show interest in the conversation. Be aware of where the camera is, even though you are not looking at it.  If you naturally talk with your hands, then feel free to gesture naturally. Your body language shows your confidence and your passion for the topic.
  3. Let your personality shine through – Make eye contact, and talk to the interviewer as if you are talking to a friend sitting in your living room. Speak in an open and confident manner, smile and have fun. Your enthusiasm will be contagious.
  4. Stay focused on your message and keep it simple – Choose a few key points you feel will be most relevant to your interview and outline them for yourself ahead of time.  Keep it uncomplicated to best convey your message. If during the interview, the conversation veers away from them, make sure to steer it back in the most subtle way you can
  5. Know your topic and any current events that relate to it – This should also come naturally. This is your area of expertise, so don’t be afraid to show it. You know your subject inside and out, so explain it as clearly as you can, in as few words as possible. Keep it short and memorable. If it relates to anything that is currently in the news, let people know it. Be prepared and think of all the possible questions and their answers – even the ones you think no one would ever ask. Be ready to catch that fly ball coming from left field.

Television reaches millions with more power and influence than any other medium, so if you’re going to go on the air, make it count. Make your passion, your ideas and your message compelling enough to be worth it to viewers to welcome you into their home, and possibly, into their lives.

If you are interested in finding out if your message is a right fit for a local and national television campaign, contact my partner Steve today on 727-443-7115, Extension 202 or email him by clicking here.

10 Reasons Why Talk Radio is the Best Promotion for Your Book!

on air sign

By Marsha Friedman

(Marsha Friedman was the April speaker at Book Publishers Northwest)

As publicity experts, talk radio is one of the tools that we use everyday to help our clients gain national recognition, promote their books and popularize their causes.  And because it is so effective our clients keep coming back for more!  Fact is – talk radio may honestly be one of the best-kept marketing secrets there is.  There are many reasons why this is true – but let me give you ten to start with:

1. THE RIGHT DEMOGRAPHICS. Every year Talkers Magazine does a research project to profile who’s listening to talk radio.  And, every year their survey confirms that the talk radio listener is, “diverse, educated, attentive, active and affluent…” If this describes your book-buyer – it’s a perfect match!

2. TARGET AUDIENCE. Not only are the demographics of talk radio great – but with specialty talk shows on politics, health, relationships, lifestyles, finance, consumer advocacy, sports, etc., we can identify shows that are a perfect match for your books, once we know the audience you’re trying to reach!

3. EFFECTIVE SALES TOOL. Publicity is definitely not paid advertising.  But it can be far more effective.  Just ask Dr. Arnold Goldstein, well-known financial author, The interest in our books from radio interviews has far exceeded the response we’ve seen from our advertising campaigns.  Dollar-for-dollar, talk radio interviews has shown a much better return!”A compelling radio interview can promote your book without the audience even realizing it!  And, as hosts don’t want to be bombarded with phone calls from listeners with questions about your book, they’re highly motivated to frequently mention your title.

4. THIRD PARTY ENDORSEMENT. Talk radio hosts have loyal followings – that’s how they maintain their ratings.  And listeners tune in daily to hear what their favorite host is talking about. As that host is often thought of as an old friend or even a trusted advisor, when you appear as a guest on their show, listeners hear an implicit endorsement of you, your book and your message!

5. CREDIBILITY. This is a crucial ingredient in every marketing campaign…and talk radio supplies it in abundance!  One of our clients told us, “…every show I’ve appeared on – the host tells his listeners about my great expertise, my many accomplishments and how proud they are to have me as a guest!  Of course, the more important I am, the more important the host appears to be.  As far as promotion and credibility goes – it just doesn’t get any better!”

6. TIME TO TELL YOUR WHOLE STORY. As a guest – you get not just 60 seconds, but ten to thirty minutes of quality time with a very targeted and attentive audience.  You have enough time to talk about your book and in many cases you have a chance to answer questions from callers.  It’s a perfect way to get the full message of your book heard and understood by the masses!

7. COST-EFFECTIVE PROMOTION. Talk radio interviews are all done by phone.  So without ever leaving your home or office you can have a direct and oftentimes live conversation with consumers around the country. Plus our fees for this publicity service are minuscule compared to what you’ll spend in advertising dollars to buy the same amount of air time!

8. IMMEDIATE EXPOSURE. You can be on the air within two to three weeks! And, because talk radio keeps up with changing times and topics, we can continuously create new angles for your topic that reflect current events, to keep you on the air and in the news on an ongoing basis.

9. BEST BANG FOR THE BUCK. With probably 1,000 + talk radio interviews under his belt, nutritional products spokesperson, Dr. W. Wong says, “Talk radio is the greatest way to get your message across to a large group of people at one time.  There’s a captive audience during morning and evening drive times, in the middle of the day with stay-at-home moms and people in the workplace and for those folks awake late at night.  It’s better, cheaper and faster than TV appearances.  Without question – talk radio provides the best bang for the buck!”

10. WE CAN DELIVER THE SHOWS FOR YOU! Scheduling talk radio interviews is second-nature to us.  Talk radio producers and hosts from the nation’s 100 biggest markets have come to rely on us for the steady stream of top guests they need.  In fact, that’s why we’re able to schedule 50 to 100 interviews week after week.

If you want to hear more about our affordable talk radio campaigns to promote your books, call my partner Steve Friedman, today at 727-443-7115, ext. 202 or email him directly at steve@emsincorporated.com.

An Actor’s Script is a Reader’s Friend

podiumA friend once said to me after a reading, “Your book was better than you presented it.” Ow!

But-he was right.

Most people would rather have root canal work done than have to speak in public. Most authors aren’t polished performers; that’s not why we write. Yet a reading is a performance for your book, and you are the voice for your book. How do you give a good performance?

You want to make everyone there, including the bookstore staff, fall in love with you. Your goal is to make everyone there want to take home that part of you which is your book. How?

Think like an actor.

Take the stage, rather than being pushed out onto it. There’s a world of difference. If you take command, it’s a lot less scary. And the best way to take command is to rehearse what you want to say and how you want to say it. Practice will give you control of the conversation.

But you’ve got to really practice: out loud, reading every word of your chosen segments, the full Monty. If you are half-hearted about it you will be self-conscious and thus half-hearted in the bookstore. Warm up your voice, hum to get it forward into the mask, do some mild stretches to stimulate the blood and brain. Warm up like an athlete or a singer would warm up. Don’t go on stage cold.

What next?

A good performance demands rehearsal time. It also takes a script. You don’t need to script the whole event, and probably can’t. Bookstores and other public venues offer distractions-external noises, wandering audience members, crying babies, who knows, I once had a reading disrupted by a rampaging elephant-so a written outline or list of topics to which you can refer can be a life-saver. This will a.) keep you on track, and b.) keep you from forgetting important stuff.

Write a list of acknowledgements to read out. Thank the bookstore staff, and anybody else who helped with the event or the book, especially if they are present. This is vital. It’s how you get asked back; it’s how you get people to want to do favors for you. And you will need them.

Chief among the announcements, say at least three times (beginning, middle and end), “I will be happy to autograph copies later, they are on over sale there”-and point-at the sales location. This warms the hearts of the staff and plants the idea in the minds of your listeners. Why three repetitions? Snarky old advertising proverb: What I tell you three times is true.

In your presentation, you can’t just drone out a reading and sign books. You need to connect with your audience on a personal level. So address these three questions: what made you write the book; why you were the person to write it; and will you tell personal stories about either the writing of the book or the incidents in it? Intersperse your short reading selections in with your response to these questions.

What will you read? Unless you have an audience that is comfortably seated, and there for the whole duration of your appearance, it is best to stay with short segments, 2-5 minutes or so in reading time. A bookstore audience may include people who stop for a moment to listen; if they can hear the entire Noodle Incident, or the story of Aunt Gladys’ toupee, they are more likely to stay for more, or to remember the book for later purchase. Chose pieces to read that exhibit the best qualities of your book-dialogue, relationships, action sequences, whatever. And always have a dead safe fall-back selection ready and practiced in case a group of eight-year-old girls appear in the first row.
When you rehearse, read through each of your selections three times aloud, while timing yourself. Average the times of the second and third repetitions to establish your performance time.

Always use the same text for rehearsal and for performance, so that the page is comforting and familiar to the eye. Some authors use pages, rather than a book. This allows them to print in larger type fonts for easier reading. When looking up to make eye contact with your audience, use your thumb on the text to keep your place, just like they taught you back in grade school.

Read it aloud a fourth time. With a pencil, mark the text where you want to take a breath, where you want to pause, or for any dramatic effects you wish to include, slowing or speeding up dialogue. When you wrote the book did a certain character have a high squeaky voice in your head? Will you read it that way?

Last of all, have a graceful way to close. You’ll take questions from the audience of course, but practice a short smooth exit from your presentation. If things start going sideways during your reading (you’re not feeling well, or your bookie has arrived) you can use it at anytime as a way to close. Some variation of the theme of your book, or why you had to write it, coupled with a thank you to the audience for being interested in the story is always good. As for those questions, always bring three pump-primers with you, in case nobody is willing to start out. If there are no questions after yours have run out, make your third and final shout-out to the bookstore sales people and announce you will now be signing.

All right, now you have a script. It’s rehearsal time.

You’re going to put on a show!

Peter Kahle is the co-author of Naked at the Podium: The writer’s guide to successful readings. He teaches seminars on writing and presentation skills. He is a past president of the Pacific Northwest Writers Association and a member of Seattle Free Lances and Book Publishers Northwest. Email at info@74thstreet.com.

His books can be found at www.74thstreet.com, the web site of 74th Street Productions.

Will It Play in Peoria? Every Publisher Can Take a Pulse

haikuforcoffeeloversGroucho Marx made the phrase popular in the movie A Night at the Opera, but everyone watching vaudeville knew what it meant when someone asked, “Will it play in Peoria?” If a new show was successful in that Illinois city, a demographic microcosm of Midwestern values, then the show could gain mainstream acceptance in the rest of the country. Many performers before and since have cut their teeth in Peoria to find out.

As both a publisher and an author, I have to listen to the customer. If my friends and family think my work is great, that’s nice to hear, but fairly insignificant. What a wider group of prospective readers thinks matters more. And there are some things every publisher can do to improve the odds of seeing whether a book will fly after launch.

How It Works with My Haiku

I write and publish a series of humorous haiku gift books. Each of the 100 17-syllable pages per book is a chance to elicit a chuckle or bomb miserably.

The writer in me thinks I’m hilarious. But the publisher in me remembers something my college choir director said once to other choristers: “You know, one in ten of David’s jokes is incredibly funny. You can’t believe how funny he can be,” he said. “The problem is, you have to listen to the other nine to get to it.” It hurts to admit it, but he wasn’t far off.

Do I know which jokes will get the laughs? Of course not. If I knew how to craft a winner every time, Jay Leno and David Letterman would be fighting for my services. But I know something about the process of finding out. After Leno finishes taping a show, he goes out to a local comedy club and tests material for the next night. What they laugh at tonight, we may laugh at tomorrow.

So I write 150 to 200 haiku per book. And then I assemble a team of guest editors-one to two dozen people with knowledge, expertise, or interest in the book’s subject area. Friends and family get asked too, and they give a helpful baseline from book to book, but I ask a different group for each book, including professionals.

For example, casino dealers looked over Haiku for Poker Players and baristas read Haiku for Coffee Lovers. The latter had a team of 13 guest editors. Thanks to their reactions-

Internet access
in my local coffeeshop:
I’m wired and wireless

-made it onto the back cover.

But –

okay, I’ve showered,
dressed, and finished my first cup-
hand me the paper

-fell flat and missed the cut.

The most polarized vote was for a haiku that originally read-

No, stupid, I’m the
double tall nonfat no foam
sugar-free mocha!”

Marginal notes made it fairly clear that the problem was the word “stupid.” So I changed the first line to “Excuse me, I’m the” and published it.

Guest editors can also tell me when I misuse a term as well as which jokes fall flat. If I tell a joke, and they don’t get it, something’s wrong! My wife has made a first pass at copy editing by the time guest editors see it, but occasionally they catch something she missed. (A professional copy editor makes a last pass once the final 100 have been selected.)

I ask guest editors for an immediate gut reaction. The haiku come with a one-page instruction letter that shows how to quickly check, X-out, question, or flag a haiku for its quality or problem. Most guest editors are done in 10 to 20 minutes and mail the haiku back to me in a self-addressed, stamped envelope. I give each guest editor a free copy of the book when it’s done and put their names in the acknowledgments.

Then I count the votes for each poem, focusing on checkmarks (liked it), question marks (didn’t get it), or Xs (didn’t like it) and come up with a formula to rank the haiku. Most people use Xs sparingly, so an X might subtract two or three checkmarks from the score. Question marks might subtract half a checkmark. Once the spreadsheet sorts the scores, I have 90 or more I can be optimistic about, and then I look at the ones on the borderline to choose the remaining 10.

The ones that don’t make it go into a reject file. Over time, I have found patterns that tell me what might be more likely to get an X. Now I write a little differently, hopefully creating better initial material. I’ll never just write 100 haiku and go straight to press, but progress is good.

Applying the Process

It’s easy to imagine using the same system for other kinds of compilations, although it may be harder to recruit guest editors for longer material. But what if your book isn’t a collection of haiku or anything else? Whether you’re publishing mystery novels or instructional guides, you can still use this process. It works on books with continuous, orchestrated text too. Put together a team of trusted readers, or visit an existing and appropriate book club; they’ll be thrilled you’re asking for their opinions.

What you give your guest editors will, of course, depend on your book and your sense of how they can best participate in shaping it. Maybe you’ll want to write 10 different versions of cover copy and see if a couple of them stand out for your panelists. You could try different titles and/or present blurbs (existing or to come) and ask if they’d persuade these readers to buy your book for themselves or a friend. If you have a novel, try asking guest editors to read the first 20 pages and see if they’re hooked or if they have problems. For nonfiction, ask whether the table of contents covers what they want to know, and see what’s missing. You might just learn what your target market thinks is valuable.

Wouldn’t it be great if every author did something like this? Well, maybe. But even comedy has many different markets. You may love Bob Newhart and hate Don Rickles, or vice versa (or you may be asking, “Who are they?”). It’s important for guest editors to represent the right readers for a book. And it’s also important to remember that markets change over time. Did you know that Peoria, Arizona, is now larger than Peoria, Illinois?

Your gut may still tell you what content works and what doesn’t. But your customer should be consulted every now and then to make sure your gut is right. You don’t want your opera to close after just one night.


David Ash is CEO of Basho Press, which publishes the Haiku for Life® series of humorous gift books. Formerly a newsletter editor, entertainment reporter, radio announcer, and choir director, he says he thinks being a publisher looks sane and stable by comparison. To learn more, visit BashoPress.com.  This article originally appeared in the February 2009 issue of the IBPA Independent and is reproduced here with the kind permission of IBPA.

How Every Author Can Benefit from Blogging

Blogs offer authors a powerful tool to develop content, build an auidence for their work and market the finished book.  Blog shave everal key advantages in this regard, including:

  • Blogs are a special type of website. Due to their generally heavy use of links and their relatively frequent updates, blogs tend to rank well in search engine results. These factors makes them an attractive tool for building an audience around your content.
  • Blogs are very similar to book in structure making it easier to transition from blog to book.
  • Blogging offers you the opportunity to establish a relatively painless writing discipline. Blog posts are typically just a few short paragraphs, about 300-500 words in length. Posting with a regular frequency lets you build your book’s content in a measured and disciplined manner. As your blog’s readership builds and you realize you are writing for an audience that wants to consume your content, the task becomes easier.
  • Blogs are very measurable. You can track your readership to a very specific degree. This is important because having an audience and knowing who your readers are is valuable information for publishers. The statistics you collect can also help you decide which content is popular and valuable, and which might be better omitted from your book.
  • Finally, because it is easy to search and find blogs discussing the topics you are writing about, the blogosphere is an effective medium in which to market your completed work.

survey takerFirst consider the size and structure of the blogosphere.  The popularity of blogs has soared in the last few years.  There are now over 100 million blogs tracked by Technorati, which doesn’t even include the more than 70 million Chinese blogs.  According to recent demographic surveys by the Pew Internet Study and the New York Times / CBS News, blogs have become mainstream and represent virtually every audience and topic area. 

Blogs focused on a given topic tend to link to similar blogs.  What this means is you can use blogs to:

  • Develop an audience for your work while you write
  • Promote your book effectively and at low cost once it is written

A blog bears many resemblances to a book. Both have a title and subtitle that reflect the content of a book. Blog posts can be organized into categories which serve as a kind of table of contents to classify and group related material. Blog posts, typically 300-500 words in length, represent the raw content of a book. Links within posts or on the blog roll serve as a bibliography, showing references to source material.

man on soapboxHow do you attract people to your blog? Initially, through searches individuals make on popular search engine sites like Google, Yahoo, Ask and MSN. By using popular keywords in your blog title, subtitle, categories and posts, your blog will begin to turn up in these searches. You can discover these keywords using keyword discovery tools or simply checking out popular blogs in your topic area. The more you blog, the more others discover and link to your blog content, the higher will be the ranking of your blog site in search results, and the greater the traffic you will receive.

Blog software usually provides a basic set of statistics that allow you to track important information such as number of visitors, page views, referring sites and average time spent by each visitor. Page views and comments left by visitors for specific blog posts provide an indicator of popular content. This makes blogs an excellent way for you to field test and select material to be included in your book.

Once you have cultivated an audience, you can transform your blog into a great marketing platform. For example, you can:

  • Feature your book on a special blog page, with your bio, a book description, excerpts, press releases and testimonials; thus your blog can double as a book website.
  • Promote your book to a wider audience by arranging a blog tour.  A blog tour is a series of scheduled guest appearances on related blogs, where you have the opportunity to talk about your book. This is a low cost, high impact method to discover new readers for your work. 

The blogosphere is not the only place to market your work, but it can one of the best. 

manuscript by computerWhether you are publishing independently or trying to sign on with a traditional publisher, blogging can be key to your success. More publishers are now starting to view the blogosphere as a fertile ground to find promising writers. Why? As an author who blogs, you can quantify your audience and this is attractive to risk averse publishers.  This is, in essence, the new author book pitch.

Blogging is a low risk, low cost way to build your audience while you are developing your work, and then promote your finished book to that same audience. Give it a try!

31 Ways to Prepare for Small Press Month (March)


1. Contact your local bookstore or library and suggest they put together a special display for National Small Press Month. You can obtain posters from: Small Press Month Coordinator at IBPA, the Independent Book Publishers Association, 627 Aviation Way, Manhattan Beach, CA 90266, Phone 310/372-2732. Or email April@ibpa-online.org. Please order in sets of two.

2. Suggest that your local bookstore offer a discount off Small Press titles this month. Offer a special discount on all of your titles.

3. Hold a seminar on “How to Get Published” or on a subject related to your books. You might wish to cooperate with other small presses in your area to get this event off to a roaring start. You might wish to charge a nominal fee for the seminar.

4. Contact the book review editor at your daily newspaper about any events that you plan. Also speak to the features editor. The business editor is always interested in a successful publishing story.

5. Send IBPA your list of participating bookstores and libraries so that they may recieve Small Press Month Materials.

6. Be sure to inform IBPA and The New York Center for Independent Publishing (NYCIP) about any activities you have planned for Small Press Month. IBPA would like to include your information when contacting the media. Please send your plans to Lisa@ibpa-online.org.

7. Get in touch with weekly papers in your area about events and submit the information to the listings editor.

8. Approach an interviewer at a local radio station about airing a segment regarding the problems and rewards of running a small press, or set one up for an author.

9. Make arrangements with any local non-bookstore outlet that is appropriate for any of your books. For example, if you publish cookbooks a grocery store might display them up near the check-out for Small Press Month, particularly with a special discount as an incentive.

10. Try for an interview at your local daily paper or the weekly paper, remember that the media is always pleased to find that there are successful publishers and writers in the neighborhood. So pitch not only yourself, but also your colleagues.

11. If you have a personable, articulate author who is available to speak in his or her area, try setting up interviews with local television or radio stations.

12. Schedule an interview for yourself at your local television station for National Small Press Month. Be sure to offer visuals if available. Footage of an author doing exciting research in a jungle, a sports book author on the ski slopes, for instance, would be helpful to getting TV time. Focus on the unique angles of your books and authors.

13. Band together with other small presses and compile a display of titles in a subject area. Offer your library the ready-made exhibit of locally published books in the areas you choose.

14. Find a college or university that would be receptive to a roundtable discussion on a topic like “What is a Free Press” or “The First Amendment and the Mass Media.”

15. Schedule a talk to elementary, junior high, or high school students about how to become an author which could be a highlight of school programs during the month.

16. Use excerpts from a current or upcoming book on your website. Remembering that an entire excerpt, a whole recipe, for example, is more productive than a tantalizing tidbit.

17. Arrange readings and signings from your list to be held during National Small Press Month at your local bookstore and library.

18. Plan a group reading or event with other local independent presses and make a night out of it.

19. Take National Small Press Month posters to your local bookstore or library and be sure that they are displayed and distributed.

20. Join with other small presses and take out a co-op ad in your local newspaper.

21. Be sure that clubs or local organizations to which you belong display a poster about National Small Press Month and has your catalogue available as a handout for Small Press Month.

22. Keep your alumni magazine up to date about you and your small press.

23. Host a wine-a-cheese party in your office for the press, booksellers and other friends of your publishing house. Celebrate National Small Press Month!

24. Gather together all your press cuttings and document the successes of National Small Press Month and please send to Karin Taylor for use next year. Send to The New York Center for Independent Publishing (NYCIP), 20 West 44th Street, New York, NY 10036.

25. Link to the Small Press Month websites from your own: www.smallpressmonth.org or www.ibpa-online.org.

26. Send out e-mails to your customer mailing list announcing the approach of National Small Press Month, and the events you have planned. A weekly digest of news would be an effective way to keep the momentum going throughout March.

27. Contact other small and independent arts organizations in your area – record labels, theaters, and art galleries, for example – and link to each other’s websites, promote each other’s events, and support the independent arts community!

28. Run a contest through your e-mail newsletter, asking for ten titles of famous independently published books.

29. Contact other independent publishers and set up a small book fair during the month at a local college or community center.

30. Evaluate author’s pitches. Offer to set up a program at a bookstore or library where authors, with the understanding that you are there to give general advice, can make a five minute pitch to you about their manuscript.

31. Look over the previous 30 suggested ideas and let us know which ones provided the most response.


Provided by:
Lisa Krebs Magno
Assistant Director
Independent Book Publishers Association (formerly PMA)
627 Aviation Way
Manhattan Beach, CA 90266


E-mail: lisa@ibpa-online.org
http://www.ibpa-online.org

Guest Article: Three Tips For Successful Readings


Author, teacher, director, Peter Kahle is a past president of the Pacific Northwest Writers Association and co-author of Naked at the Podium: The writer’s guide to successful readings. 74th Street Productions ISBN 09655702-3-1


1.) Turn On The Speakers In Your Head

•Prepare yourself before you go onstage, as MC or as the Main Event. Your head has a built-in speaker system to make your voice fuller and more powerful. Your sinuses can resonate your voice.
•Hum. Search for the note that feels best in your throat. That is the power center of your vocal range. Hum until your lips buzz faintly. That brings your voice forward into the mouth, and into your speaker system.
•Tongue-twisters to get your mouth ready. Phrases from your report, or generic ones like Peter Piper or ‘Red leather yellow leather black leather yellow leather.’


2.) How To Handle A Heckler

•Your first response? Read the room. Is there staff present? Someone sitting down beside the heckler can help control the situation. The author may not need to respond at all.
•Think of school teachers, how they retain their cool and keep control of the situation. Or think Don Rickles, or Chris Rock, and shoot back. The book in question should determine the response. Depends on how quick you feel.
•Say “Thank you,” and move on instantly.


3.) Carry Your Own Questions (2 copies)

•Never rely on the audience to ask the first question. Don’t let the silence drag out too long, or people feel uncomfortable.
•Always prepare 3 questions about the book. If you can find a shill in the audience, give them your list. Will booksellers be present during the Q & A? Share question lists BEFORE the event begins.
•Design your questions so that the answers lead to other questions. Rehearse, rehearse, rehearse.

For more information see our web site at www.74thstreetproductions.com