The Ins and Outs of the Publicity Department at Ooligan

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Like many Oolies before me, when I first started the graduate program in Book Publishing at Portland State University, I thought I would be most interested in editorial. In fact, besides being an editor, I didn’t really know anything about the other jobs that existed in the publishing industry. I had a lot to learn!

After learning more about the industry from different classes and through my work as a team member on Ooligan’s YA title, Love, Dance & Egg Rolls by Jason Tanamor, I discover that I had a penchant for marketing and publicity. I applied to a few different managerial positions, but I was thrilled to be assigned my top choice: Publicity Manager!

So, what is book publicity? And how does it work at Ooligan Press?

Here’s the basics:

What is Book Publicity?

A book publicist’s job is to serve as the liaison between the author and the media with the goal of acquiring press coverage for the book and/or author. Publicity is often defined as “earned media,” being something that generates attention without necessarily paying for it.

How Does it Work at Ooligan?

The Publicity Department is relatively new to Ooligan—I’m only the third person to hold the title of Publicity Manager! The Publicity Department is responsible for:

Press Kits

Press kits provide information to the media on our books and authors, which saves media editors time in research and preparation. Press kits should be easily accessible, have consistent messaging, be author-centric, and be kept updated like a resume. For more about press kits, check out this blog on The Anatomy of a Press Kit or this blog on How to Write an Effective Press Release.

Review Requests

Review requests are just that—requests for reviews! We send out review requests to different media outlets, bloggers, bookstagrammers, authors, and book reviewers. For more about review requests, check out this blog on writing review requests, or this blog on what to do about reviews!

Launch Events

Launch events can be held in a variety of ways, and there have been many different types of launches with Ooligan and our authors—from events at pubs and bookstores to virtual events! At Ooligan, our launch events are about giving the students and the authors a chance to celebrate together. To get an idea of how to plan a successful launch party, check out this blog, or for a look at what we’ve learned from a year of hosting virtual book launch events and some helpful advice from past Project Managers, check out this blog!

Awards

It’s Publicity’s responsibility to organize and apply for awards for all of our books! There are a few awards we generally apply to, like the Oregon Book Award and the Foreword INDIES, but project teams will also gather other viable options, sometimes based on things like genre or author identity. To learn more about the importance of awards, check out this blog!

Author Events

It’s also the Publicity Department’s responsibility to submit our authors for events such as The Portland Book Festival and The Pacific Northwest Booksellers Association (PNBA) Fall Tradeshow. The publicity manager fills out submission forms and writes cover letters pitching our books and authors to be featured at these events.

IPS Updates

If our books or our authors receive any publicity—reviews, events, interviews, awards, etc.—the Publicity Department updates our distributor, Ingram.

Some Final Thoughts.

  • Publicity is about cultivating authentic attention for our authors and our books.
  • Something I love about publicity is that we’re receiving recognition and validation for our authors, our books, and Ooligan Press!
  • In a way, finding the right media outlets to reach the right audience can be a bit like matchmaking.
  • At Ooligan, we’re passionate about our books, so it makes marketing and publicizing them easy!
I heart New York umbrella over rainy city street

Sorry New York, Not Everyone❤️s You: It’s Time for Publishing to Diversify

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New York has long been the hub of the publishing industry. Even in the wake of COVID-19 and the realization that much of what we do can be done remotely, that NY-centric state of mind does not seem to be changing. I am months away from graduating with a master’s degree in Book Publishing from Portland State University, so I’ve been doing my research into the publishing job market and most roads lead to New York.

While conducting my research, I came across dozens of articles with titles like, “Can You Afford to Live in New York City?” or, “Cost of Living in New York City”. Never mind the crowds of people, the crime, or the cat-sized rat problem: what it comes down to for most people when considering relocation to New York is the cost. It is highly competitive in terms of the housing and job markets, with one-third of renters spending 50 percent of their income on housing, and huge markups on just about everything else. The articles say it’s possible to survive if you live frugally, choose a less desirable neighborhood, and live with roommates. And make at least $40k per year after taxes: not easy to do when New Yorkers pay some of the highest taxes in the country which include federal, state, and city income taxes. Another fun fact, the average landlord makes you prove you make forty times the monthly rent. Want to guess what the average entry-level publishing job pays? Not enough. Think of how many talented, qualified people with diverse lived experiences this keeps out of the industry, simply because they do not have the economic or social capital to enter it.

Those NY-averse publishing professionals among us are no strangers to the grind. We are willing to hustle and sacrifice to do the work we love. But how much sacrifice is enough? Personally, aside from becoming impoverished, I’d also have to sacrifice my two dogs. Both my eighty-pound babies have special needs and do not belong in a tiny NY apartment. And one is a rescue who, much like his mom, does not take kindly to strangers. I’d have to surrender both to a shelter where, as adult dogs with emotional and fear-aggression issues, they would likely be put down. If you’re thinking I should have planned better, consider this: circumstances change. I rescued my babies while living in sunny San Diego, long before the pandemic, when I had a husband and a house with a huge backyard. Now it’s just me and the dogs—and boy do we miss that yard.

There is simply no good reason why workers within any industry should be forced to move to a centralized location to do a job that could be done from literally anywhere else. And make no mistake, it can. Publishing was affected by COVID-19 just like every other industry, but while others struggled and shuttered, publishing thrived. While print sales were up, deals were being made, people were meeting virtually, and stuff was getting done, New York experienced a mass exodus. People realized that they didn’t have to be physically in the office (or in NY) to do their jobs.

Sure, remote work has its challenges, but the benefits for the health of the industry far outweigh them. Yet, what I’m proposing is for major publishers to open more offices outside of New York—namely on the West Coast. Doing so would have a similar effect as offering more remote positions while potentially mitigating the demand for remote work. The Big Five clearly value the work being done out here, in places like Portland, and scoop up our indies once they experience a modicum of success. Instead, why not deliberately set up shop, hire local, and watch your company flourish because your workers can afford to live and live where they want to instead of where they must?

New York offers a certain prestige, to be sure. But staying centralized in New York is not exclusivity—it’s exclusion. Get it together, publishing: you’re an industry, not a nightclub. If you don’t disperse for the diversity and well-being of your workers, for pup’s sake, do it for the dogs!

Four Books By Latinx Authors You Need To Read

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Here at Ooligan, we love to celebrate diverse authors and stories. As a Latinx reader, I enjoy reading novels that speak about my culture and celebrate the rich history of the island I grew up on. However, I also love reading stories from other Latinx cultures whose stories and experiences resonate with me. In this list, you will find a little bit of everything. We have put together a short list of books written by Latinx authors that you will surely enjoy!

The Storyteller’s Death by Ann Dávila Cardinal

First on our list is Ann Dávila Cardinal. Cardinal is known for celebrating her heritage through her writing in her novels. Her newest title, The Storyteller’s Death, follows the story of Isla as she discovers family secrets. Forced to spend her summers in Puerto Rico, Isla develops a strong bond with her great-grandmother. After her death, Isla discovers she has a magical gift passed down through her family. This incredible story incorporates beautiful storytelling with a hint of magic. The Storyteller’s Death is Cardinal’s first adult novel. If you are looking for a young adult novel, you can check out her other books like Breakup From Hell and Five Midnights.

Clap When You Land by Elizabeth Acevedo

Next up, we have Clap When You Land by Elizabeth Acevedo. This story, told in the form of a poem, follows the lives of two sisters, Camino and Yahaira Rios, after the sudden death of their father. However, Camino and Yahaira were unaware of each other’s existence. They must work through their grief while coming to terms with their father’s double life. Acevedo’s writing is truly captivating. Other well-known books by Acevedo are The Poet X and With the Fire on High.

Blazewrath Games by Amparo Ortiz

This fantasy novel follows the story of Lana Torres who loves dragons and longs to play for the Puerto Rican team in the Blazewrath World Cup, a tournament where dragons and humans come together to compete. This is such a fun, innovative, and action-packed read. I had never read a fantasy novel incorporating Puerto Rican characters and found this book to be a treat! I highly recommend it, and if you want to read more books by Ortiz, you can check out Dragonblood Ring and Last Sunrise in Eterna.

Our Shadows Have Claws: 15 Latin American Monster Stories

Last but not least, we have Our Shadows Have Claws: 15 Latin American Monster Stories, which is a collection of short stories written by many authors, two of whom, Amparo Ortiz and Ann Dávila Cardinal, have been featured on this list. This collection of Latinx horror stories is a great way to get insight into different cultures since many of these stories are inspired by specific lore. Some of my favorite stories include “The Boy From Hell” and “La Madrina.”

These are just a few fantastic Latinx authors I have recently enjoyed reading. I would have loved having more stories like Ortiz’s Blazewrath Games when I was growing up, but I am glad I have these stories now and that younger readers will have access to books like these.

Support diversity in publishing by reading Latinx authors. Feel free to let us know what authors you loved from this list and share other Latinx authors you love reading!

stacks of books on tables in a large exhibition hall

Book Fairs vs. Festivals: What’s the Difference?

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Book fairs and literary festivals are both important events in the publishing world, but is there a difference between these two literary exhibitions? Before learning more about publishing and becoming the rights manager at Ooligan, I had always assumed they were interchangeable. In my mind, fairs and festivals were just two different ways of saying the same thing: an event for readers, authors, publishers, and more to come together and celebrate reading. While this remains true, there are a few key distinctions between these events that are helpful to know as a reader, author, and/or publishing professional.

Book or literary festivals are geared mainly toward readers and fans of books. They can last anywhere from a single day, such as our local Portland Book Festival, to up to three weeks, such as the Edinburgh International Book Festival. These festivals usually feature author speaking events, where authors and sometimes publishing professionals give talks about books, the writing process, and more. Readers get the chance to learn more about their favorite books and authors, and ask questions. Afterward, there are usually author signings, where attendees can get personalized, signed copies of their favorite books. Sometimes, if you’re lucky, publishers will have giveaways for advance copies of their upcoming releases or other kinds of giveaways—the amount of tote bags I’ve gotten from festivals is insane! Festivals for younger audiences, such as YALLFest, also often have fun games, food trucks, and more. The main purpose of book festivals is to serve as a fun gathering for all book lovers to come together and celebrate the joy of reading.

Book fairs, while also serving as a gathering place for book lovers, tend to differ in their main purpose. While some book fairs have an option for readers to come and visit, there usually aren’t any events such as talks, signings, or giveaways. These fairs are mainly for people working in publishing to promote themselves and/or their books. Publishers from around the world set up booths with their information and upcoming titles, and meet with other publishers to buy and sell rights. Fairs such as the Frankfurt Book Fair, the largest book fair in the world, only have a few days that are open to the public to visit. The rest of the fair is spent facilitating meetings between literary agents, publishers, and editors. As Schoko Press writes, there might also be “Workshops and seminars . . . presenting topics on trends and industry news and developments.”

Book fairs are the best opportunity to meet more people in the industry, especially those in other book markets across the globe. Walking around these fairs, you’ll see industry professionals greeting old friends, pitching their books or authors, and meeting to collaborate on new projects. It’s basically a massive networking event for the publishing industry.

So, if you didn’t know, then now you know! Book festivals and fairs may seem similar, but they each serve a different and important purpose. If you’re a reader who’s looking to hear from your favorite author or get a signed copy, then you might want to stick to festivals. If you’re an author wondering about the difference, you’ll most likely be attending festivals to give talks and sign books, not the fairs. If you’re new to publishing and curious about the exchange of rights and networking in the industry, then a book fair might be the best bet! However, both provide amazing experiences for any lover of books and publishing, and if you get the chance to attend either, it will be an amazing experience you won’t forget.

If you would like to learn more about fairs and festivals or what events might be near you, here is a great article from Books Make a Difference that dives deeper into fairs and lists when and where they take place, and here is a great list of literary festivals from The Reading Lists.

a group of youths on a dock overlooking a body of water.

How We Can Edit Teen Characters

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Ever read a YA novel and wondered how a teenage character was created? Developmental editors assist authors with developing characters with an empathetic approach. Peter Ginna, in What Editors Do, describes the role of the developmental editor by explaining how developmental editors look at big picture ideas such as pacing, plotting, structure, and believability of characters. Additionally, What Editors Do emphasizes how empathy is important when performing a developmental edit and when working with authors on their stories. When it comes to approaching authors on developing young characters that adolescent readers will look up to, it is incredibly important to approach the author with empathy and respect. Editors play a key role in how teenage characters are developed in the beginning stages of the process. Developmental editors can be a great resource when creating young adult fiction, and to ensure developmental edits are successful, editors must have a great working relationship with authors.

Ginna’s What Editors Do describes empathy as the most crucial part of the editing process. This means that editors must have empathy for characters in fictional stories as well as for the author. When it comes to developing teenage characters in young adult fiction, editors must have empathy for the reader and understand how readers will perceive the characters in the story. What Editors Do emphasizes how effective editors bring certain assets that are important when developing a story. These valuable assets are market knowledge and subject expertise. Editors with marketing knowledge see what is currently selling in the book market. They can suggest edits about young characters based on which young adult novels were successful and what character qualities pulled young readers into the story. Subject expertise is also important because it allows editors to see where the author is coming from. Why did the author write a young character a certain way? How can editors take what writers want to say to adolescents and develop it in a way that will not only sell but be an inspiration for young adults? Developing stories starts with good communication between the editor and author and seeing how both develop characters.

Scott Norton in Developmental Editing talks about the role developmental editors play in a story’s development and emphasizes how developmental editors sometimes coach the author on their stories as well as suggest edits to help authors form a vision for the book. When it comes to developing young characters, developmental editors should be prepared in their market research to assist authors with how the characters will be portrayed to youths. Editors can see what has been successful before and suggest edits that support the author’s vision. It is important for editors to point out how a young character may come across to a youth. Will the teenage character be a positive inspiration for youths? Will their actions teach them a lesson about life? Developmental editing can help authors develop young characters in a unique way that supports the author’s vision but also highlights how young readers will look at the story. It is important for authors to make a plan with the editor and work together on developing the book. Readers look up to characters, and editors play a significant role in assisting with characterization. Young adult fiction can be an inspiration for young audiences, and editing can assist authors with their vision while keeping empathy for young adolescent readers.