7.7.10: The Question of Media Contacts by Christina Mamangakis of Simon & Schuster
A few weeks ago, Mari Selby wrote an excellent post entitled “How to Work With A Publicist.” Her thoughts hit home when one of my authors asked me point-blank what he could do to make my job easier while we were sitting in my office and discussing our publicity strategy for his book. I’m not about to turn this into an entry on the shifting of responsibilities, but I think my author’s question was very valid since an author’s level of preparedness not only helps a publicist figure out what she needs to focus on, but also helps strengthen the dynamic between the two.
Of the many things I’d love to ask of my authors, I find that one of the major sticking points (and factors that can help determine coverage) is the extent of an author’s personal and professional contacts in the media.
Most authors are asked to fill out questionnaires at some point during the publication process. Of these questions, one of the most useful for publicists is to find out whom the author knows and has relationships with in the media. As publicists, it’s part of our job to develop and maintain relationships with various media contacts in both the traditional and social realms. However, it’s that much more beneficial if an author also has relationships with media figures – be it hosts, producers, individual writers or members of editorial boards. This is helpful for a host of reasons, but especially because it results in an increased variety of inroads to individual publications.
With that said, I must emphasize that it’s very important for an author to be honest about whom he knows in the media and just what type of relationship he has with the contacts he lists. For example, did you happen to write for this editor as a freelancer many years ago? Did you meet him once at a book party? Is he good friends with your mother’s high school soccer coach? Do you just like to read his columns on Sundays? As publicists, we specialize in what I like to call “gentle harassment” of our media contacts; this is especially true when we know we’ve got insider information. For example, if I know that one specific New York Magazine editor has commissioned my author for several pieces on aquatic life in the past few years, I will follow up rather doggedly about my author’s new book on endangered marine mammals until I get a definite answer. However, my approach would be quite different if this editor was simply someone my author had met in passing.
It’s really no secret that media coverage often results from these behind-the-scenes relationships, but this absolutely does not preclude an author who lacks contacts at the New York Times or National Public Radio from being covered by these outlets. At the day’s end this is the very reason why we publicists have jobs in the first place – we should know which producers like short stories and which hosts love books on World War II and which writers prefer celebrity interviews. Having personal contacts as an author simply adds an extra element to the equation and weighs the odds more heavily in his favor.
Yes, the strength of an author’s personal contacts can sometimes help break a book into those upper echelons of publicity coverage, but this is neither the only nor the most important factor in securing coverage. At the end of the day, the product – the author himself and his work – is what’s going to land the media attention. An author’s credentials, his backlist, accessibility, and media presence coupled with a timely, engaging subject and solid writing will win out over those without. It just never hurts to use every advantage you’ve got!
Christina Mamangakis is a publicist at Scribner, an imprint of Simon & Schuster. Before that, she worked at W. W. Norton & Company.
