If someone tells you that marketing and promotion has nothing to
do with poetry, or writing in general, or at least nothing to do
with the 'success' of your writing being seen and heard, either
they are kidding themselves or kidding you!
This was a topic I covered and emphasised in a six week online
course, which I ran for Nancy Kobryn's 'Online Academy' teaching
organisation. It may or may not come as surprise to you that some
very successful writers and poets come not from a traditional
academic background, but in fact a commercial background -
including marketing and promotion. As an example, Dana Gioia in
California, whose poetry and articles have appeared in a number of
very large publications, has featured on various radio programs
including the BBC (England) discussing the subject of poets'
backgrounds.
And in spite of what you may or not perceive as the various
'ingredients' which go in to the making of a poet's success, it is
a fact that many, if not all, of the 'top name' poets are active
promoters and 'marketers. That includes the former USA's poet
Laureate, Robert Pinsky, featured in one of IPM's issues [For
which this article was originally written]. How do I know this?
Well the fact that he has a 'press kit', which I received on
request, may convince you.
I am always bemused how some folks get in their mind that
'self-promotion' compared to 'third party promotion' is
'unsavoury' - bragging even! If it will make you feel 'cleaner',
then sure, go ahead and employ someone to do your 'dirty work' for
you!
Is the concept of 'promotion' something new in the world of
writing? Not if my understanding is correct, where I have heard on
a number of occasions, that the world-renowned Ernest Hemmingway
spent more time promoting than writing!
But when all is said and done, without sharing, presenting,
promoting (whatever word you feel comfortable with), there is no
basis for bemoaning your 'lot', if 'everyone else' seems to
receive attention except you! And believe me, having worked with
some of the most experienced professionals in the field of
Marketing, Promotion and Public relations, it is extremely hard
work, requiring (as previously mentioned in other articles of
mine) a 'long-term consistent persistence'.
Any professional in the field of marketing and promotion will
tell you that one of the main 'tools' for successful and effective
promotion is 'market research'. And if 'marketing and promotion'
is such a taboo for poets, why are there so many resources on the
market for us poets?
For instance, there is what is probably the world's largest
listing of poetry publishers, of all shapes and sizes, - The Poets
Market. The 1999 edition lists somewhere in the region of 1,800
publications world-wide.
Personally, I have never really used it to 'pro-actively' seek
out publishers, to submit work to. Rather, I have used it as a
reference source. Similarly, I would not suggest you dismiss a
publisher you may come across, simply because they are not listed
in this marketing resource. I merely consider it a very good
representation of what is happening in the poetry publishing
world.
Should you come to the decision to develop a 'marketing
strategy' in an attempt to get your work more widely into print,
what might be a good approach?
In spite of my repeated advice, and the advice of most editors
/ publishers to undertake some market research before engaging on
a vague 'mail-shot exercise', this still seems to go unheeded by a
vast number of folks trying to establish their work in the world
of poetry. But consider this advice in the context of one of the
'laws of marketing', which was told to me by a marketing friend
who personally worked with one of the world's most successful
British 'entrepreneurs' - Richard Branson - founder of the
'Virgin' empire. Maybe the name sounds familiar - the Virgin music
chain-store in England, Virgin Atlantic airways, etc.
The 'law', I am told, (which is based on statistical research)
states that a 'random mail-shot' is considered to have been
successful if it gets a 2% return. How does this relate to
submitting poetry? Well effectively, if you were to send your
poems out to 100 publishers, knowing only that they 'print
poetry', you can count yourself lucky if 2 accept your work!
Your 'chances' increase the more 'targeted' you aim your
submissions. It is worth the time and effort in the long run
identifying where your work may most likely 'fit'. In fact, you
can make it quite a fun exercise if, instead of feeling your
'fate' rests with the publishers' decisions, you turn your
'approach' around and decide which publishers you will and will
not give the choice of reviewing your work!
In other words, you draw up a list of what criteria they
must meet to review your work! Each person's 'criteria list' will
vary, obviously.
For example, what criteria must a publisher meet, before I will
consider submitting my work to them? (And if you are thinking,
"Hey, isn't this arrogant on your part?" I would ask
those of you who have a child or sibling, "Hey, wouldn't you
carefully select who you want as a child-minder to look after your
kids?").
I think if I had to try and list what I consider some of the
most important qualities that I look for in a publisher they would
include:
Diversity of styles and diversity of 'topics'. Concerning the
poets they feature, I would look for diversity of 'geographical
locations and cultures'. I also point-blank refuse to submit to a
publisher who only wants 'previously unpublished work' or the
other extreme of only 'previously published work'.
Applying these criteria, it is quite easy to eliminate
publishers from a listing which gives 'guideline details'.
Furthermore, it does no harm, when contacting those publishers you
have selected, to explain why you chose to write to them, asking
for a back issue to examine, prior to your final choice of
submitting your work to them. If you re-read my personal criteria,
you will realise that, in essence, it goes some way to identifying
the more 'open-minded' and flexible publishers. Curiously enough,
and based on personal experience, I have also found these type of
publishers tend to be more 'sociable' and in contact with other
like-minded publishers - better networkers.
