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Viewing: Blog Posts Tagged with: Rebecca Grose, Most Recent at Top [Help]
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1. Q&A with The Yellow Book Road, Noted Children’s-Only Bookstore in San Diego – Part 2

rebecca groseby Rebecca Grose
SoCal Public Relations
www.SoCalPR.net
[email protected]

Recently, I had an opportunity to ask a few questions of Ann Diener, co-owner of The Yellow Book Road, a children’s-only bookstore near San Diego, to give us a little insight into their world. Here is part 2 of that interview (scroll down this page to read Part 1 of this interview).

What have you found to be the best way(s) to promote an event? And how can authors/publicists help make an event more successful?

The best way we have to promote the events is through our email list which has about 2000 members. We also occasionally get placed in the calendar of events on the Book Page of the San Diego Union-Tribune. The San Diego Family Magazine is widely read and is another place we submit events. We will be getting a new web page soon which will greatly improve our advertising, and we now have a Yellow Book Road Facebook page. We encourage the author/publicist to help get the word out by alerting their fanbase and posting the event on their website or blog, sending out email announcements, or getting in touch personally with any media or educational contacts they may have in our area.

In your experience, how have book sales been for author events?

When school groups come to the store, I would estimate that only about 20% of the kids buy the books. The school library tech usually makes of point of purchasing a copy for the school library. An in store event like Fancy Nancy brought in higher sales as each girl had to have a copy! The Patricia Polacco event was spread over four days, combining the store appearance for the public with local school visits, and it was a great success. I think the authors that most appeal to the teachers brings the store the greatest exposure and profit.

What about the author bringing treats, tchotchkes or other giveaways – does that make an event more successful or have an impact on sales?

It is nice when the authors give out little mementos to the kids because then the children can show something when they go home and it keeps the memories fresh. However, most of the sales are determined ahead with school visits and so there is no monetary difference.

In general, will you accept promotional materials (posters, bookmarks, etc) from local authors/illustrators for your store, and how are they used?

Again, if the author is traditionally published, not self-published, we welcome bookmarks and posters which we display. We always create a display for a future visiting author and welcome anything to add to the books.

What are your thoughts on self-published books and authors? What’s your policy for POD books and those without returns? Do you consider them? If not, why?

When I first began the store, I thought I should help the self-published, but I soon realized what a difference there is in the quality of a published book versus a self-published book. Also a self-published book costs so much more because the person has paid for the publishing. I have grown more careful in what is put on our shelves and who we have for events. I now try to focus on works from an established publisher that have had editing, and thus, are quality items.

Do you handle selling books at events outside your bookstore, and if so, how does this work?

We sell as much as we can outside of the store because we want to survive. We do school carnivals, educational conferences, vendor events, public library ev

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2. Rebecca Grose of SoCal Public Relations Interviews Deborah Warren, Literary Agent – PART 2

Rebecca Grose
Rebecca Grose
SoCal Public Relations

www.SoCalPR.net
[email protected]

Q & A with Deborah Warren, Literary Agent – PART 2
East West Literary Agency
www.eastwestliteraryagency.com

Q. How is the agent paid?

I can only speak for me. As a long-term advocate for my client, I work for — and with — her to best represent her interests, passion and vision. As her new “best friend,” I’ll also nurture, guide, inspire, promote, market and help shape my client’s work. For this, I’m paid a 15% commission on domestic rights sales, and a 20% to 25% commission on foreign rights sales of the work, in perpetuity, for as long as it’s in print. As far as expenses: I deduct actual, out-of-pocket expenses from, and only from, the first royalty check.

Keynote: Believe me, a good agent is with you for the long-term. Your best interests are her best interests. It’ll be easy to spot one that’s not on your side.

Q. How do agents decide whether they want to work with a particular author or illustrator? What goes into their decision making process?

We agents are a lot like matchmakers–we’re creative matchmakers, but we make matches just the same. For me, I have to feel an almost immediate connection with and to the potential client, and her or his Work. We prefer to bring clients into the agency with whom we share a common career-building goal, so I’m also impressed when clients have an appreciation for, and knowledge about, the industry; in particular, about the acquisition process. It’s one long food chain!

Keynote: When you boil it down to its essence, this business is so very subjective:  each agent or editor has her or his own perspective and either the work ‘clicks’ almost immediately and/or with revision … or it doesn’t. 

Q. Do you think there will be a resurgence in demand for picture books, or will young adult novels continue to dominate the market?

Anything that is very well-written, has a truly unique voice, presents the subject matter with a unique and truly new perspective, is carefully researched as to its competition, and is saleable as to its format will create a demand. Yes, there are certain segments of the market that are dominating the shelves right now, but that will always be true. There will always be specialists in the market who carve out their own specific territory.

For example, the Agency has a particular strength in the picture book category, specifically, for finding the “write” homes for our picture book author/illustrators ranging from partner agent Rubin Pfeffer’s advocacy of Jeff Mack and Jesse Joshua Watson to long-term Agency talent Jim Averbeck, Anna Dewdney and Gianna Marino.

Q. Any other advice for authors or illustrators seeking representation?

Well, one of our authors, Erin Dealey, of Little Bo Peep Can’t Get to Sleep and Goldie Locks Has Chicken Pox (Atheneum/Simon & Schuster) says it the best, in her “Writer’s Rap”:

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