As the new manager for the Ooligan Press website, my team and I have been appointed a task of monumental importance. The work that we do will ultimately end up creating a brand for Ooligan Press, so our work needs to be a genuine representation of our goals and values. Though we are still in the beginning stages of our endeavor, we are excited by what we have accomplished so far.
During discussions about branding strategies with my college peers, it is common to hear about the importance of searching for the value a reader is looking to find when they are browsing through books, and then focusing on producing manuscripts that target these values. This initiative probably works well when producing and marketing most products, but how effective could this strategy be in the book market?
It is not enough for a title to be good (that is, a fitting description of the events of the plot that also strikes the right tone and implies the themes surrounding it), it must be enticing to the target audience and lend itself to marketing.
What makes an old book new—at least in the eyes of the consumer? Publishers of classic novels face the distinct challenge of marketing books that have already been extensively read, loved, discussed, and marketed. More often than not, publishers are not selling the content of the book—after all, the words are already tried and true—they are selling the experience.
What is the difference between personal branding and professional branding? Why does it matter and when is it better to use one over the other? Let’s start by defining what each one is.
At a time when YA is on the rise, we must ask this question: How do YA authors cater to their older audience?