As a culture, we are growing more inclusive every day, but not all young readers grow up in the same environment. Not every town offers good examples, not every family is understanding, and not every book teaches the same thing. When you’re marketing a novel to a young adult readership, it is important to understand that while the internet is a map to nearly every young reader, it can also be the thing that destroys a novel.
Our May 2020 title faces down its darker elements—including violence, bigotry, and abuse—with both unflinching realism and hope. Importantly, it portrays the struggles of two main characters who fall under the LGBTQIA+ umbrella. Because these identities do not exist as a monolith, and also because this is a book intended for a YA audience, Ooligan chose to incorporate authenticity readers (sometimes called sensitivity readers) into the editorial process.
Authors are, in a sense, a business unto themselves. In a digital age when personal presence is what sells the book on social media, it is critical for authors to have a consistently branded page or account for users to follow and engage with. But this consistency, this need to post only certain tweets or pictures, might be considered the epitome of the “social media as a false reality” argument. Does having a consistent brand make someone inauthentic online?
The individual attention and the feel-good messages are examples of good advertising, and companies shouldn’t be punished for good advertising. The problem arises when their values don’t line up with their ads.
As students who specialize in book publishing, we encounter the question, what is publicity? In Book Marketing, Professor Juergens states that “publicity is a company’s or a person’s or a book’s or an author’s presence in the media that is driven by relationships, such as author relations, media relations, event management, and brand management.” Considering […]