Start marking the calendar with conferences and book fairs of interest to indie authors and publishers.
IBPA Publishing University: This year’s three-day conference will take place May 15–17, 2025 at the Intercontinental Saint Paul Riverfront in Saint Paul, MN. It will feature hands-on sessions, workshops, and other educational opportunities for independent, hybrid, and author publishers, as well as university and association presses. The Independent Book Publishers Association is in the process of finalizing the schedule. To find out more, check https://www.publishinguniversity.org/.
U.S. Book Show: Formerly known as Book Expo America (BEA), this conference takes place in May 2025. No details posted yet on the website but sign up for further information at https://usbookshow.com/.
Looking to sell books at book fairs? Connect with readers? Here’s a few ideas for the Pacific Northwest:
Get Lit! Festival, April 10-13, 2025; Spokane, Washington. The state’s “longest-running annual literary festival” (as per organizers) offers four days of readings, writing workshops, craft classes, panel discussions, literary happy hours, virtual events, and a book fair. Find more information at https://inside.ewu.edu/getlit/.
Worldcon 2025, August 13-17, 2025; Seattle, Washington. A giant international science fiction and fantasy convention that shifts cities every year, Worldcon is coming to Seattle. Applications for dealer tables and for author participation in panels are currently being accepted at https://seattlein2025.org/.
We’ll be adding information on other book festivals and conferences as these become available. Staging an event of interest to indie authors and publishers? Send us the information at bpnwnews at aol.com.
Becky Garrison’s latest book, Distilled in Washington, delves into the fascinating history of making liquor, especially American Single Malt. With a topic like that, Garrison finds herself giving presentations throughout the region that go outside the standard reading and book signing (she does those too!). We asked Garrison for a few tips on engaging readers no matter what size the audience.
Distilled in Washington: A History was published in 2024 by Arcadia Publishing. Garrison will be speaking on “How Whiskey Won Western Washington” at McMenamins at Anderson School in Bothell, WA, on June 25. Doors open at 6pm. For more information see McMenamins’ website at www.mcmenamins.com.
How long a presentation do you normally give?
What I do varies depending on the venue and the audience obviously.
For my upcoming presentation with McMennamin’s Anderson School I’ve been asked to give a 50-60 minute lecture with slides allowing 5-10 minutes for questions. The crowds who come to a History Pub expect to leave being informed with both words and visuals. A whiskey tasting is preceding this event, thus making a very easy transition for tasting to talk.
If the audience is expecting a typical author book event, I try not to read more than 20 minutes, and then use the remaining time to engage the audience. That said, I will have additional sections flagged that I can read if the audience would prefer that I do the talking.
Should I get a very small crowd where reading to say a few folks feels “weird,” I will switch to a more conversational tone by asking them questions that I will then answer extemporaneously. That said, I will tune in and read from the book if I sense this is what they want.
When I’m part of a festival such as Portland Book Week where folks are coming in and out, I keep it loose. If a crowd starts to gather, then I’ll do a reading. If it’s just a few folks coming in and out, then I engage with them individually.
How are you working with Washington distillers?
I’m planning some events with distillers that are timed with their new releases. In these cases, they will do a guided tasting followed by me explaining the history behind what they’re drinking in that glass. These presentations are very interactive will last as long as there’s audience interest.
Also, I will be at the next Washington Distiller’s Guild annual tasting event called Proof. For events like this, the presentation is a short elevator pitch of less than 60 seconds as this is a party not educational space. That said, I will offer to do a slide show of photos from my book or other interactive ways to engage the audience in a fun and playful manner.
What do you think is the best way to do a presentation on a subject that keeps the audience engaged and sells the book?
Think interactive. Unless I am doing a formal lecture where the Q&A is not expected until I end my speech, I open by asking the audience questions relating to my book such as “How do you define whiskey?” When possible, I bring along a friend who has agreed to function as a social lubricant by breaking the ice in answering the first question or two.
If a venue will permit me to serve liquor, I will bring along a few bottles of whiskey along with promotional materials about these whiskeys. I’ll open with a spirits tasting to get the vibe going and then ease into the reading as applicable. When I attend an event of this nature, I will don a T-shirt from a WA State distillery featured in the book.
I have on hand pins and literature from the American Single Malt Whiskey Commission for those who like to take something home. I hold on to items that have a fiscal value such as coupons for free tastings, and distribute on an individual basis.
Also, I bring along postcards of the book with a QR code on the back where folks can order the book. If the venue can sell the book, then I bring along postcards that don’t have a QR code. I’ve chosen not to sell books myself as I still have a few too many books from my last book that came out in March 2020. Simply put, I learned I’m a writer not a marketer and that self-publishing or even semi-traditional publishing isn’t the route for me.
Do you vary your presentation to fit your audience?
Of course. Here I rely on the advice given to me by futurist Brad Sargent when I was preparing to give a talk at the 2009 Slot Festival in Poland. I knew hardly anyone there and was concerned that no one would come to my talk. He said, pray that those who need to hear what you say will come, and that those whose contributions would be disruptive stay at home. This advice continues to serve me well as it keeps me from getting upset if an event doesn’t achieve the desired results.
When people come to events, what is the most frequent question that you are asked about Distilled in Washington?
When most people think of the Washington State’s food and drink culture, they conjure up images of suds or Syrah, not spirits. Hence, they tend to be surprised (and even shocked) wen I inform then that Washington State is one of the leading states in terms of the number of distilleries, and that this is the first book to record the history of distilling in this state. In particular, they are often not aware of the Pacific Northwest’s role as a leading player in the evolution of the American Single Malt category, and how PNW brewers are playing a unique role in the creation of this category. They seem to take pride in learning how this development that has put the PNW on the map as an international player in the whiskey world. Along those lines, they groan a bit when I let them know that this state also has the highest distilling taxes in the country.
Also, whenever I chat up the book, inevitably someone will come up to me and say to me in a whispered voice that their relative was a moonshiner or bootlegger during Prohibition. I encourage them to delve into their family’s history and tell their stories in the hopes that through such storytelling, we can connect to our past filled with pride for our badass ancestors and not become consumed with shame for coming from such lawless stock.
Where’s the most unusual or fun place that you have or are talking about Distilled in Washington this summer?
I am delighted to be asked to give a presentation at McMennamin’s History Pub on June 25 since an academic type presentation is a deviation from the typical book reading. Also, I’m looking forward to doing some joint events with Copperworks at both their Kenmore and Seattle locations as it’s exciting to see people connect with both the stories in the book and then the distiller pouring the whiskey that was informed by these stories.
Distilled in Washington photo courtesy of publisher Arcadia Publishing. Photo of author Becky Garrison (top) courtesy of author.
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Michael Engelhard has three new books out in 2024. Two are based on his life in Alaska and published by Pacific Northwest companies: the memoir Arctic Traverse (Mountaineers) and What the River Knows (Hancock House), an essay collection.
His third book this year explores the Grand Canyon. For No Walk In The Park:Seeking Thrills, Eco-Wisdom, And Legacies In The Grand Canyon. Michael decided to publish the book himself under the imprint Corax Books.
Trained as a cultural anthropologist, Engelhard has worked 25 years as an outdoor instructor and wilderness guide in Alaska and the canyon country. He is the author of 12 books.
Throughout the year, Engelhard plans to strategically schedule events to cross-promote all three titles simultaneously. We recently did an interview via email on how he came to have three books out in one year and what’s the best way to promote that many titles. You can learn more about all his titles at michaelengelhard.com.
Photo of books courtesy of Michael Engelhard
Interview with Michael Engelhard
Why did you settle in Alaska?
I came to Alaska as an exchange student from Germany in 1989. I had wanted to live “up north” for a very long time—too much Jack London at a susceptible age you could say. I fell promptly in love with cabin life in Fairbanks, the Native cultures, and the immense swaths of public lands, especially in Alaska’s Arctic, all of which have inspired me ever since. My memoir Arctic Traverse and the essay collection What the River Knows are only the latest in a number of books and articles that have sprung from my fascination.
Why did you decide to bring out three books this year?
For starters, 2024 marks the centennial of the first official Wilderness (in the Gila National Forest, New Mexico), pushed for by the proponent of a “land ethic,” Aldo Leopold, a whopping four decades before the Wilderness Act. And most of my writing and much of my life is centered on the dual concept of wildness-wilderness. So, publishing three books on the subject this year feels like an appropriate commemoration. On a practical level, it allows me to cross-promote these books simultaneously.
Which came first: wilderness guide or writer?
Actually, anthropologist came first. Working with Alaska Native peoples, I discovered an interest in storytelling and what I call “the symbolic dimensions of landscapes” —place names and related myths, cognitive maps and ways of wayfinding, the lived experience of a landscape beyond subsistence activities. I only became a wilderness guide after I taught briefly at the university and found that for me, an indoor classroom is not the best setting to educate (and entertain) people. Also, while I worked on my Ph.D. I spent more and more time in front of computers and less in the outdoors, doing fieldwork.
What has been the greatest challenge in promoting your work?
It is hard to decide what kind of thing to focus on: ads, reviews, guest blog posts, excerpts, podcasts, interviews, readings, appearances at conferences and book festivals, etc. The efficiency of these promotional activities can be hard to determine, since sales reflect their cumulative effect. Currently, my biggest challenge is to promote my Grand Canyon book, No Walk in the Park, while living in Alaska.
What do you think is the easiest thing for an author/publisher to do to promote new works?
It’s important to cultivate personal relationships in the industry over the years, with people very likely to respond positively to a particular new book, to prevent having it end up in the slush pile. The easiest thing that works, for an author, is to meet his or her readers at book events. You’re trying to sell yourself as much as you do a book.
Photo of Michael Engelhard at book signing courtesy of author.
Pacific Northwest Bookseller Association’s September tradeshow returns to Oregon in 2024. Show dates are September 29 to October 1 at the Holiday Inn on the Columbia River, Portland, OR. Attendees will be bookstore buyers and librarians from the Pacific Northwest. Publishers and those serving the bookstore trade are encourage to display their upcoming titles as well as backlist.
The schedule is once again designed to keep attendees focused on reps and the show floor during all exhibitor hours, says PNBA’s recent call for exhibitor registration. PNBA will promote a profile of each exhibiting company on the official Tradeshow page.
Exhibitors will also receive website and show program listing for any author appearing in their home space during the first night Explore the Floor reception.
Oregon poet, author, publisher, and podcaster Benjamin Gorman decided to do something different with his weekly podcast featuring writers. The result was Writers Not Writing, which has received more than 10,000 views on YouTube and is available for download from all the podcasting platforms. Rather than dive into craft or how to be published like other podcasts, Gorman concentrates on what writers do when they are procrastinating…or perhaps just living a fully rounded life.
We wanted to know more about what Gorman does when he is not podcasting, including his publishing company Not a Pipe Publishing and how the podcast came to be. Following is a recent interview via email.
Please tell us about Not a Pipe Publishing.
Not a Pipe Publishing is an indie press located, fittingly, in Independence, Oregon. We started off publishing exclusively sci-fi and fantasy for adult and YA audiences, but we’ve expanded into paranormal and horror, a thriller, a bunch of anthologies around different themes, and collections of poetry.
How did you come up with the “Not a Pipe” name?
The name of the company is a reference to René Magritte’s famous painting “The Treachery of Images,” the one with a pipe on it that says (in French), “This is not a pipe.” The painting is about how an image of a thing isn’t the thing itself, and I thought that would be perfect for a company which publishes fiction. One of our central animating principles is that fiction isn’t an accurate description of the world but can tell deeper truths.
What inspired you to start the Writers Not Writing podcast?
I’d been a guest on many podcasts and a few TV shows, and while I’m grateful to all those interviewers, I found that I kept responding to the same questions about writing process. That’s great for other writers, but I suspected the lines of questioning weren’t very entertaining for readers. I wanted to create a show that is reader-focused, so instead of asking writers about how they write, I ask them how they do something every reader also does: Procrastinate. I think the show helps readers get to know authors as more well-rounded human beings, and I hope that makes the viewers/listeners more interested in checking out our work.
How many writers have you interviewed?
As of this writing, we’ve aired 65 episodes, but I try to keep a little ahead, so I’ve recorded 70. It’s been a wonderful experience because I’ve been able to meet these big-name Emmy winners and New York Times best-sellers, and also authors who are just starting out in their careers. I like to keep that mix because everyone has a unique collection of fun procrastination behavior.
Do you hear any common themes?
One question I always ask authors is what they’ve been daydreaming about, and I’ve appreciated the common recognition that daydreaming, while it can feel like procrastination, is an essential part of the work we do. Authors have fascinating answers ranging from the weirdest flights of fancy to very practical wonderings, and it’s great to contemplate how those inform their work.
What do you think is the greatest challenge facing indie authors and publishers?
I think the publishing industry is going through a transition that’s very similar to what the music industry experienced with the rise of Napster. Before, music was limited to what a small number of gatekeepers allowed. Suddenly everything was accessible, and anyone could throw their music out into the world. That was wonderful for listeners (at first) because there was this glut of great stuff, but it made it so difficult for artists to break out, and then it made it nearly impossible for artists to make a living creating their art. Those pressures then become bad for music listeners (and now readers), because the quantity of work is huge, but it’s being created by people who are essentially donating it to the world. That’s not good for artists of any kind, and when the artists are exploiting themselves, it ultimately isn’t good for readers, either. I suspect that, like iTunes, we’ll eventually settle on some other gatekeeping method that will allow some people to get attention without those decisions being made by a bunch of white, male billionaires picking from among their friends. Instead, it will be white, male billionaires choosing from what they see bubbling up from a much larger pool. That’s still far from perfect, but it will lead to more diverse literature that will be at least slightly more representative of the readers (who are predominantly women and disproportionately people of color) while providing more authors a living wage. I hope indie authors and publishers will play a vital role in that future ecosystem, creating meaningful connections between authors and readers on smaller scales, like the bands that are figuring out ways to make ends meet by doing live shows in more intimate venues rather than selling out arenas and living off of hit albums. We’ll see. I could be overly optimistic. But I hope we’ll find ourselves in a world of more public readings and more intimate signings at small, independent bookstores. It’s a tight time for indie publishers and indie bookstores now, but I really hope the ones who can weather this tenuous time will be the places readers look to when they want to find the voices of their own communities in a future of homogeneous, AI generated schlock.
For those who want to learn more about Not a Pipe Publishing, where can they find you?
Please come learn more about our authors and their marvelous books at www.notapipepublishing.com We have some great novels we’ll be releasing this year by Amanda Cherry, Beth Gibbs, and Karen Eisenbrey. We’re also publishing our first translation, a powerful collection of poetry by the renowned Mexican poet Verónica Arredondo translated by A.A. deFreese. And we just released a beautiful collection of found poetry and art by Jennifer Rood. There will be cover reveals, launch parties, and signings for all of these, so check out the events page on the site or follow us on any of the social media apps. (We’re on all of them. It’s awful, but we have to go where the readers are, so please follow us to make it worth our while!)
Seattle City of Literature started a calendar in February “to celebrate the people and organizations that make Seattle a UNESCO designated City of Literature.” Organizations are encouraged to contribute information on “all literary adjacent events open to the public — readings, workshops, open mics, comics classes, discussions, lectures, youth programs, book clubs, residency deadlines, festivals, talks, plays — anything you might dream up that’s “literary” in the loosest sense,” according to the announcement.
Seattle City of Literature aims to email a biweekly digest of all the literary events listed to their subscribers.
“The calendar will also serve as an important way to benchmark the health of our literary community and track all of the events that are happening every year,” said José L. Montero, President of the Board, Seattle City of Literature.
The UNESCO Cities of Literature network of 53 cities represents 6 continents and 39 countries, and a combined population of over 26 million. Seattle received its designation in 2017.
Map of the current Cities of Literature from the UNESCO press kit about the program.
The Portland Book Festival selects featured books for the November event on a rolling basis from now through June. The 2024 festival is scheduled for Saturday, November 2, 2024. Organizers plan to feature a diverse group of contemporary authors in conversations, panels, and presentations.
Literary Arts must receive complete submissions by June 14 for consideration. All selected authors will be contacted by September.
Note that the consideration for self-published titles uses the same criteria as traditionally published books. For the 2024 festival, Literary Arts will not accept self-published titles that exist only in ebook format.
The Society of Children’s Book Writers and Illustrators (SCBWI) Western Washington chapter is offering a free online class on marketing this month.
In his class, Northwest writer Will Taylor promises to explore: “How to optimize marketing efforts via language tricks, framing, and behavioral science. How to create simple systems that take the guesswork out of marketing and leave you reassured, relaxed, and ready to focus on your real work. Come learn to make your marketing process easier, more fun, and more effective!”
Taylor is a published author of stories for “current and former kids.” More about his books for Scholastic and Harper Collins can be found at willtaylorbooks.com. He also works as a copywriter for Fran’s Chocolates, the Museum of Pop Culture (MoPOP), and LAIKA Studios.
(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.
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.
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.
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.
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
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.
(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.
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