On Free Work
By Alex Greenwood
It gets down to time and money.
We often get requests from local organizations, churches and non-profits asking us to perform free work. The first impulse is usually “you betcha!” but that’s not always the most realistic answer to the request.
We’re proud of our long record of helping non-profit organizations by providing free (pro bono) services. We try to perform a set amount of community service hours every year. To that end, AlexanderG PR has helped several non-profits improve their image or promote fundraisers and special events over the years. We do the work with a happy heart: it’s an honor and privilege to serve our community.
However, the realities of the economy, time/scheduling and just plain “paying the bills” prevent us from helping every non-profit organization on a pro bono basis. Don’t get me wrong–we’re happy to discuss an organization’s needs–and if it’s a good fit for everyone, we’re glad to help out. Unfortunately, it’s not always feasible for us to work gratis on a project. However, we do try to recommend another firm or PR pro who might be able to help.
When we do agree to work on a pro bono basis, we’re careful there is a clear scope of work–a list of what we will and will not be able to do. We also make certain the non-profit we’re working for understands their role and deliverables in the process. As a former non-profit board member, I know it’s easy to forget that the company doing free work needs your help in supplying information, personnel and resources to ensure a successful project.
Pro bono work recipients have to make it a two-way street to help the donating firm be as efficient and successful as possible. That’s why the scope of work (hours, deliverables, timelines, etc.) is set in advance and must be respected by the client organization–it prevents misunderstandings, unrealistic expectations and (yup) even recriminations later.
Keep that in mind if you’re the non-profit looking for pro bono help: assurances to the prospective donor firm that a point person will mind the scope of work is a huge help in winning that firm’s assistance.
We also recommend you thank the firm often. In a program, on posters, online, invite them to post-event celebrations–wherever you can. Many firms won’t ask, but they will readily accept some credit and publicly-expressed gratitude for their work.
Being a business that’s sought after for pro bono work is indeed an honor, and we highly recommend all businesses help out their community organizations when possible. The trick to it is balancing the needs of paying the bills while being an energetic community booster.
Superhero Supply is Good Business
Today we welcome Andrew Nemiccolo, founder of Seven Story Learning, as a guest blogger. –Alex
Savvy brands recognize that the client, not the product, is the hero.
Last week I was investigating some new software for my business, and after 45 minutes of reviewing mind-numbing technical notes and confusing product spec sheets, I gave up. It never became clear to me how the product would help me work better, faster, or smarter. I couldn’t visualize someone like myself using it. Somebody lost a sale because their marketing mindset was singularly focused on their product, “the hero.” Maybe you’ve had a similar experience.
Position Your Brand as the Sidekick, Supporting the Hero
The role of stories in business communication is a hot topic these days, because stories work well. Used right, stories are one of the most memorable and meaningful ways to share ideas and initiate action. It’s a natural feeling for business leaders to want to cast their products and services as the heroes valiantly overcoming the conflicts in all those business marketing stories. After all, the designers and engineers have invested so much time and energy into the product that they may unthinkingly expect everyone else to identify with the product features as much as they do.
Casting matters. Stop hogging the limelight! When a business positions its products as the lead hero, it removes potential energy from the brand’s story arc, and denies the client the opportunity to be the hero. Reframing the story from the viewpoint of the customer as hero allows other customers and prospects to immerse themselves in the experience. This subtle shift can lead to “narrative transport,” and it can have a profound effect on business results.
Focus on the Customer Experience, Not the Product
Vanderbilt University marketing researcher Jennifer Edson Escalas has compared the narrative transport state of mind with a more analytical mindset. In a 2004 study, she created multiple versions of running shoe advertisements and tested the reactions of 252 undergrads.
- Narrative self-referencing example: “Imagine yourself running through this park . . .”
- Strong argument example: light weight [10 ounces] and an advanced stability system.
Escalas found that the narrative style ad was more effective than the analytical format, which viewers tended to evaluate more critically. Ironically, the ads that focused on the shoes’ specs and advantages, seem to have put the subjects in a very different state of thinking. Escalas concluded, “Transportation is not a lack of thought. It is a distinct process from analytical thought.”
How to Make the Customer the Hero
- Focus on the client experience, rather than the tangible product or service. Can you get the client to imagine him or herself using your solutions? Go deep. What does it look and feel like?
- Start conversations with customers, and listen. As Harvard Business School marketing professor Theodore Levitt said, “People don’t want to buy a quarter-inch drill. They want a quarter-inch hole!” The product you’re selling may not be the experience that customers are seeking. Listening closely to new sources such as social media discussions for market research may yield unexpected ideas.
- Feature customers more prominently in your communications. Client success stories, video testimonials and user-generated content all can have high impact. The 2012 Edelman Trust Barometer showed “a person like me” has re-emerged as one of the three most credible spokespeople, with its biggest increase in credibility since 2004.
For organizations that are comfortable putting the customer in the hero role, there’s honor (and good business) in being a sidekick. The new Red Cross “Storytellers” campaign emphasizes the stories of real people front and center as the heroes. The Red Cross supplies the programs and platforms to equip these superheroes. Notice the difference?
Feature Clients as the Heroes
It’s tempting to want to make your organization, your product, and your service the hero. But decision makers are eagerly looking for a hero with whom they can identify. Will you give that to them? Get in the superhero supply business today!
About Andrew Nemiccolo
Andrew Nemiccolo is founder of Seven Story Learning and author of Aizuchi Playbook: Brand Your Business with Story. Andrew gives keynote talks and workshops on stories for business and develops client success story programs. For more resources, visit http://sevenstorylearning.com and connect on twitter or Facebook.
Superhero Supply Photo courtesy of Fred Lam, Creative Commons License.
Well, At Least I Have a Clean Shirt.
Tom Rath: I don’t know anything about public relations.
Bill Hawthorne: Who does? You’ve got a clean shirt and you bathe everyday. That’s all there is to it.
In the “Man in the Grey Flannel Suit,” Gregory Peck’s character is essentially told that having a “clean shirt” is the most necessary asset for working in PR. (Sorry the clip has been taken down from YouTube.) Contrary to the opinion espoused in this great film, Public Relations is more than just a clean shirt and bathing regularly (though it helps). Public relations is a profession that ethically identifies, develops and creates strategies to communicate the key messages of the client.
If you’re in business or have an organization that depends on engagement with others, then you have a message; whether it’s about a product, service, organization or cause. You also have thousands of potential avenues to deliver that message: television channels, radio stations, blogs, micro-blogs, podcasts and publications.
A Public Relations professional should have the strategic and tactical experience to tailor your message and identify the right channel for the best possible impact–ethically and tastefully.
We’re curious about your impressions of Public Relations–as a profession or its practitioners. We’re under no illusions that you have a 100% positive impression of Public Relations. Frankly, we’ve seen plenty of people who have no business being in PR. That’s why we work hard to earn your respect and demonstrate the positive aspects of Public Relations. To be candid, we in the Public Relations profession need to be better at spreading our own message…at telling our own story.
We think a conversation between people outside the profession and those of us working to make it better is a good start.
So, leave us your comments–let us know what you think about “PR”: the good, the bad and the ugly.
Our Site of the Week: Money Talks News
I love Money Talks News. Always good stuff on saving/managing your money. In fact, if you follow my Twiiter feed, you’ll see I do an awful lot of tweeting about them. Here’s an excerpt from a post about Holiday Tipping.
Excerpt:
Money Talks News founder Stacy Johnson has tips for tipping and spreading holiday cheer this season.
Here’s how to make holiday tipping easy this year:
1. Make a personal checklist
You don’t have to wonder who deserves a holiday tip. There are plenty of experts who will tell you.
Ready to feel guilty? Below is a list of holiday tipping guidelines from Emily Post. Go down the list, pick out service providers that come into your life regularly, and start making a list of your own. Yes, the list is lengthy, but hopefully you don’t come into contact with all those on it. (No elevator operator where I live – how about you?)
If you go to the site, they provide a cool table with suggested tipping options and several other great ideas. Check it out. –Alex
Groupon Ghetto
This is a gem from our archives. Originally posted April 1, 2012. –Alex
Have you used a Groupon lately? For anything from oil changes to restaurants to pole dancing classes, Groupon and its ilk have set a new paradigm in couponing. The breakthrough marketing tactic has also raised some thorny customer service and business relations issues.
My family uses Groupons occasionally–mostly for restaurants. The results and satisfaction have been mixed. On one occasion, we purchased a Groupon to an upscale restaurant and were treated to a magnificent meal, quality service and a desire to return (though we were dismayed that another customer was allowed to flout the dress code by wearing sweat pants, it didn’t ruin the overall meal).
However, on most occasions as soon as we whip out that piece of computer-printed paper, the waiter sniffs imperceptibly and says “Oh, you’re a Groupon..”
“Well, actually, no, we’re human beings and paying customers,” is the reply I wish I had the nerve to utter. Instead I nod, almost embarrassed.
I realized in that moment I had just been shown the door to…the Groupon Ghetto.
Case in point, last night: Groupon in hand, my wife and I had a date night reservation at a local restaurant that features an adventurous menu of French cuisine. Our Groupon entitled us to an hors d’oeurve, two entrees and two glasses of wine–price maximums for each item were listed. I think it was roughly a two for one deal cost-wise. I was very interested in several things on the menu (which were well within the price range set by the Groupon deal) and was prepared to order when I saw a notice at the bottom of the menu (paraphrasing):
“Groupon users may order items from the right side of the menu only.”
I was crestfallen. Was I a second-class citizen because I used a Groupon?
I’m almost certain that wasn’t the restaurant’s intent–likely the items on the left side of the page were more expensive to prepare and to have the ingredients on hand for potentially hundreds of diners at any one time could devastate profitability. Yet, I still felt that rather than being enticed into becoming a new customer I was instead being asked to take my coupon-cutting ways and enjoy them in second class. I know the restaurant doesn’t want people to feel that way, but perception is reality–and that notice on the menu was an instant bummer. That is a public relations problem.
Setting aside Groupon’s dubious advertising decisions, the backlash of late is being felt by customers and businesses alike. Case in point, a restaurant in St. Louis:
After accepting Groupon coupons for nearly six months, Clara Moore, the general manager and chef at Local Harvest Café & Catering, had almost forgotten about the 3,500 customers who’d jumped on the deal.
Until the last few weeks, that is, when hundreds of those people came rushing in.
After running the staff ragged, pissing off the regulars, cleaning the restaurant out of all but four items on the menu and posting several negative Yelp reviews about their experiences, the Groupon masses left Local Harvest stunned and exhausted. Moore could only say, or rather Tweet, one thing: “Sorry, we won’t be doing Groupon again, guaranteed!”
There’s even a hashtag and website for people who have had bad experiences: #GrouponHell.
On the flip side, I’ve read tales of Groupon users who don’t quite get that just because their meal may be half-off the price, they still need to tip waiters and waitresses for the full price of the meal. That kind of thing certainly puts restaurant staff in a less receptive mood for Groupon users. There’s also the issue of users waiting until the last week of the deal before redeeming it–something that can absolutely throw a restaurant into a tailspin when hundreds–even thousands–of Groupon customers show up practically all at once.
This may be a purely academic discussion, as some posit the Groupon business model will ultimately fail:
While Groupon has seen incredible growth since its infant days in 2008, it is highly unlikely to keep pace in the years to come. The primary reason for this is competition. When current CEO Andrew Mason thought of the idea for Groupon, there was little to no business entities in the arena. Now, there are more than 500 sites worldwide, with over 100 in the United States. Yes, Groupon has penetrated markets in South America, Europe, and the Middle East, but what have they done to distinguish themselves? What is unique about the service they provide? What do they offer that no other company can? The answer is – nothing.
[UPDATED FROM ORIGINAL POST: Groupon's fourth quarter earnings may bear this out.]
Anyway, back to the question. Do Groupon users get stuck in a ghetto of second class service? Perhaps at some places they do. Our service last night was excellent, and indeed it usually is when we use a Groupon. But too often it feels a little like we’re being ghettoized–as if we’re really not wanted. I would consider that it’s all in my head except for that notice in the menu last night directing me to the Groupon Ghetto.
How about you? What kind of experiences–good or bad–have you had with Groupon or similar services? Are you a businessperson who has used a coupon deal? We want to hear from you, too. The comments section awaits–no Groupon required!
“Last Bite” Offers The Latest Word on KC Cuisine
Coming October 2012.
Kansas City-area readers no doubt have seen–and tried–the tantalizing recipes shared by Pete Dulin in Star Magazine every Sunday, and Roy Inman’s photographic talents have thrilled us for decades. The duo collaborated on a fantastic new cookbook, Last Bite: 100 Simple Recipes from Kansas City’s Best Chefs and Cooks (KC Star Books, $17.95 print, $9.95 e-book), which will hit the shelves in late October 2012.
As part of our ongoing series* on writing, authors and the evolution of publishing, we visited with Pete and Roy to gain some insights into Kansas City’s best fare. We also delve into what it takes to write and edit a cookbook, as well as create images that capture the flavor of the recipes.
Pete, your recipe column is read by thousands every week in the Kansas City Star ‘Star Magazine’. Was it inevitable you would pen a cookbook?
Pete: The Last Bite recipe column in Kansas City Star’s ‘Star Magazine’ on Sundays is a popular column. People tell me regularly that they clip out recipes to try. After three years of writing Last Bite, photographer Roy Inman, who shot photos of every dish, and I have produced a significant body of work. I thought it would have widespread appeal if published as a book.
Fortunately, Doug Weaver, publisher at KC Star Books, agreed that a cookbook with simple recipes and a focus on local chefs and cooks was appealing for cooks and attractive as a gift.
Also, thanks goes to several people at The Star that enabled me to work on Last Bite. Food editor Jill Silva referred me to Cindy Hoedel, who contacted me with the idea for coordinating and writing the existing column. Cindy and Tim Engle served as the editor for Last Bite initially and current editor Laurie Mansfield recently took over the reins. Without their help, I would not have had the opportunity to write the column or produce the cookbook several years later.
Author Pete Duliln
How many recipes did you consider for Last Bite? Was it tough to decide which recipes would make it to the final 100 for the book?
Pete: Roy and I worked on over 150 recipes during a three-year period from 2009 through mid-2012. Together with Doug, we decided on using 100 recipes from forty local chefs and cooks that would offer readers plenty of variety. Roy and I produced photos and profiles of those forty people in the span of two weeks. I wanted to include enough people to represent Kansas City’s talented culinary scene. I only wish we had the time and space to include more people. The recipes in the book, published previously in the newspaper, were drawn from those forty people. We tried to balance the number of recipes in most categories. Other factors included seasonal variety of the recipes, visual appeal of the photos, and what made us hungry.
Last Bite not only shares recipes, but also information about the chefs who created them. Tell us about some of the local chefs featured in the book.
Pete: The cookbook includes well-established chefs in the restaurant community and lesser known cooks with food-related businesses. Collectively, these people share a sincere appreciation for good food. Their recipes make the Last Bite cookbook so eclectic. Last Bite includes James Beard Foundation award-winning or nominated chefs such as Celina Tio (of Julian), Debbie Gold (of The American Restaurant), Colby Garrelts (of bluestem), and Michael Smith (of Extra Virgin). Other accomplished chefs include Charles d’Ablaing (of Chaz on the Plaza), Carl Thorne-Thomsen. (of Story), pastry chef Megan Garrelts (of bluestem), and Tate Roberts (of EBT Restaurant). Chefs Bob Brassard and Justin Hoffman are culinary educators at student-run Broadmoor Bistro. Chef and cookbook author Amber Shea Crawley and Sandi Corder-Clootz (of Eden Alley Cafe) contributed vegan and vegetarian recipes.
Avid cooks like Jamie Milks (of Everyday Organics), Duane Daugherty (of Mr. Doggity Foods), and Sheri Parr (of The Brick) contributed recipes ranging from black bean quinoa burgers to Italian white bean soup to pumpkin pancakes.
These cooks and chefs have different touchstones when it comes to food. Their recipes reflect farm-to-table and seasonal dining trends as well as dietary concerns such as gluten-free foods. The diversity of recipes in this book is also a strength in terms of a cookbook that can appeal to many interests.
Photographer Roy Inman
Roy, you’re well known for the wide variety of subjects in your photos–people, architecture, fashion, and of course, food. Is shooting photos of food more or less challenging than other subjects?
Roy: Food photography certainly has its degree of difficulty! The point is to make it look extremely edible. These were all shot according to very specific guidelines: Tight composition emphasizing just the food, only minimal props such as spoons, forks or knives, and very sharp focus to differentiate the images from the in vogue style of excessively shallow focus. Many dishes need to photographed quickly, unlike a typical architectural photo wherein the subject doesn’t change except with the light. And there is the CARDINAL rule of food photography: Don’t eat the subject until it’s shot!
Ha! Roy, you tried most of the dishes you photographed. Any favorites you would care to mention?
Roy: Wow that is a tough one. I particularly liked the mac and cheese from Martin City Brewing Company. The pimento cheese spread from Café Europa was yummy. Jasper’s Boulevard pot roast was simply divine. Hard to find a better tomato tarragon soup than the 12 Baltimore version. Desserts were all fabulous, but since I am a fan of anything pumpkin, I would give the edge to Terry Mille’s spiced pumpkin cheesecake.
Question to Pete and Roy: Where do you think Kansas City stands in the nation’s culinary reputational standings? Are we just known for barbecue? Is this book an attempt to let the rest of the world know about the culinary quality of KC?
Roy: Hard for me to judge. All I can say is that we have a large variety of restaurant offerings, from Indian to Italian to a literal smorgasbord of great burgers, plus our world-famous barbecue.
Pete: Sure, we’re known for barbecue, but there’s so much more to appreciate. Slowly, out-of-towners (and locals) have discovered we have great regional cuisine, ethnic food, and artisan producers of cheese, meat, beer, wine, smoked nuts, and more. Kansas City is gaining a well-deserved recognition as a culinary destination. James Oseland, editor-in-chief of Saveur stated, “We’ve long thought of Kansas City as a good barbecue town,” Oseland said, “but its high-end dining is really on the rise.” Other national publications such as Food and Wine and the New York Times and Food Network programs have picked up the scent too. Kansas City celebrates its culinary and cocktail renaissance through events like KC Restaurant Week, the recent Paris of the Plains Cocktail Festival, and events like Green Dirt Farms’ farm-to-table dinners.
We have award-winning chefs and bartenders at independent restaurants using fresh ingredients from local sources. Frankly, tourists, foodies with social media bullhorns, and national media don’t have to validate the fact that we have top-notch food and drink. That’s been apparent dating back to Calvin Trillin’s famous quote about Kansas City’s restaurants only our local scene has improved vastly in recent years.
Last Bite is a one-of-a-kind cookbook that represents only some of the city’s best culinary talent. It is a tribute to the people more than our city’s food scene or reputation. If the book entices people to come to Kansas City and visit some of the restaurants and businesses represented here, then I firmly believe they won’t leave hungry or disappointed.
Last Bite will be released in softcover book and ebook formats. My wife and I often use our iPad or Smartphone as “cookbooks” in the kitchen, rather than a physical cookbook. Do you find that is happening more often? Is that the shape of things to come?
Pete: People are using e-books, specifically cookbooks, in the kitchen more readily. They save precious space by being stored on a tablet or laptop instead of the counter top. The two main advantages – E-books are convenient (saves space) and inexpensive (saves money). My girlfriend, who rarely cooks, has five cookbooks on her iPad. Cookbooks in e-book format invite exploration on different types of cooking for ethnic food, diets, or other criteria without the guilt of a book gathering dust within a few days.
Some articles of note:
Cookbook revolution: Digital versions poised to take a kilo-bite out of the tradition
Cookbooks for Kindle (and other ebook readers)
Roy, does the e-format present challenges in rendering your photos?
Roy: The “formula” to which the photos had to adhere actually help in the e-format. Generally speaking, for anything that will be viewed smallish, as on an iPhone or even on a desk computer, simple subjects that fill the frame are stronger, and that is exactly what I set out to accomplish with the original Last Bite photos.
How did you get noted food blogger Bonjwing Lee involved in writing the foreword to the book?
Pete: I interviewed Bonjwing about bluestem: The Cookbook, which he co-wrote with bluestem Chefs Megan and Colby Garrelts, for my site petedulin.com. I respect his skill as a writer and photographer, avid curiosity about food, and commitment to sharing his perspective on cuisine in an authoritative manner. He was kind enough to accept when I asked him to write the foreword. His view of Kansas City’s culinary community, while not shared by all, helps to frame the significance of the cookbook in terms of the people represented in it.
Roy and Pete–What would you like to hear from a Last Bite reader about the book if they ran into you in the store or at a restaurant?
Roy: “I’ve tried most of the recipes, they are all great, and I loved the photographs!”
One thing I would like to add: All of the chefs were incredible to work with. They went above and beyond the call of duty to help make the food look its best for the camera. In every case, I carefully styled each dish after it was in front of me and it took anywhere from 20-40 exposures to get what I wanted from the light painting technique I used for most of the photos. All of the food was shot on location, so it would have been too time-consuming and awkward to set up expensive, heavy, studio strobes. I used two or three pen cell flashlights and Snake Lights, and small, silver cardboard reflectors. Total cost for all of the lighting gear, about $15, because I was able to find the flashlights at garage sales.
Pete: I hope they say, “I bought the book, tried the recipes, enjoyed them, visited the chef’s restaurant, bought products made locally, and supported local businesses.”
That’s a lot to ask. I hope the book encourages people to cook at home and experiment with the recipes.
On a closing note, producing this cookbook and working with Roy has been an honor. He’s a consummate professional. I’m thrilled that his food photographs will appear in book form so the colors can truly dazzle the eye. I’m also grateful for the chefs and cooks that I have worked with over the years. It’s my privilege to promote their business and work.
For updates about the book, events, and retail locations, visit lastbitecookbook.com or like our Facebook page, facebook.com/LastBiteCookbook.
Pete and Roy, thank you for your time and for creating such a magnificent window into the kitchen’s of KC’s finest chefs and cooks! –Alex Greenwood
Retail Information:
Last Bite will be sold at The Kansas City Store locations and online, thekansascitystore.com
Wholesale Order Date: Orders begin October 15, 2012
Retail price: $17.95.
Size: 8.5 x 11 inches. 120 pages.
Wholesale Book Orders
Contact Jack Beasley, KC Star at jbeasley@kcstar.com or 816-234-4473. KC Star Books ships directly to the stores.
Country Club Plaza, 314 Ward Parkway
, 816-756-1997. Open Mon-Sat, 10 to 7 and Sunday, noon to 5.
Union Station, 30 West Pershing Road,
816-283-8282. Open Tue-Fri 8:30 to 5, Saturday 10 to 5 and Sunday 11 to 5. Closed Mondays.
Amazon.com – soft-cover and e-book
Local shops – Pryde’s Old Westport
Upcoming Events
Saturday, November 3, 1 PM
Cooking Demonstration and Book SigningCooking demonstration with Chef Michael Foust of The Farmhouse and Pete Dulin and book signing with photographer Roy Inman and Pete Dulin. Kansas City Home & Garden Magazine Cooking Stage at the 2012 Home, Design & Remodeling Expo, Bartle Hall.
Thursday, November 15, 7 PM
Last Bite Book Release Party/Signing
Pete Dulin and Roy Inman with cabaret performance by alacartoona Le Fou Frog 400 East 5th Street, Kansas City
*Disclosure: No entity mentioned in this post (including KC Star Books, Pete Dulin, Roy Inman or other businesses listed) are now or ever were clients of AlexanderG Public Relations.
We have received no promotional consideration for this post.
Going to the Drive-In and Calling Reporters
A recent trip to the movies reminded me of this frequently asked question: Should I call a reporter to check that they got my press release/pitch?
No. (Usually.)
As a general rule (meaning of course there are always exceptions) calling a reporter to see if they received your press release usually just annoys the reporter.
Why?
Because the reporter is probably very busy not only writing or researching their next piece, but also wading through the dozens–if not hundreds–of press releases and pitches they get per day. Also, calling a reporter who is on deadline can get you on their bad side–permanently. Make sure you know their deadline before you call, and if you must call, the first thing you should do after identifying yourself is ask “Is this an okay time for a quick chat?”
Okay, but what the heck does this have to do with going to the movies?
Getting your message out to the media is like going to a drive-in movie (stay with me, folks!): you want to come early for a good space, but not too early, or you’ll spend a couple of boring hours waiting for the sun to go down in your good parking space, listening to corny music and swatting mosquitoes. If you come too late, you’ll get stuck behind a family of three in an oversize SUV that nearly blocks the screen. Same idea with your pitch or press release: make sure you send it out in a timely way.
Most daily or weekly publications/broadcasts won’t remember your pitch if you send it months in advance, and pestering reporters for weeks in the interim will probably get you nowhere. Conversely, if you send it three days out from your launch or event date, then you’ve equally shot yourself in the foot. Being a little early, say two or three weeks, is not a bad idea for most pitches–that gives you time for follow up. Ultimately, timing is really down to how well you get to know the rhythms of reporters and their publication. (That’s where the services of a good PR pro come in handy, too.)
Anyway, I recommend you make a point to follow up via email first. This way the reporter can respond to you when their schedule permits.
What if the reporter never responds to my email?
In my experience, most reporters will respond to your second follow up email (if not the first one). If they don’t, it could mean one of a few things:
- The Pocket Veto. They saw your pitch/press release and aren’t interested–and they’re too busy to reply to you about it.
- Hmm. I’ll get to that soon. The reporter is interested, but on deadline or too busy to focus on it at the moment.
- They haven’t read it yet.
If you’ve made repeated attempts via email and feel the pitch/release is worthy of the reporter’s attention (and you need a definitive yes or no) then by all means call. But make sure you can spell out your pitch quickly and you’re respectful of the reporter’s time. Also, here are a few tips from a reporter on making your pitches and press releases ready for their closeup.
Okay, the dancing corn dog says it’s time to hit the refreshment stand. Enjoy the movie and good luck with your next pitch!
–Alex Greenwood
Writing and Marketing Erotic Fiction: An Interview with Eden Baylee
Eden Baylee writes literary erotica and erotic romance. She is also a delightful person who I have known (via the world wide web), for a few years now. She is a generous, talented lady who writes incredibly good fiction with an erotic flavor. Her stories are both sensual and sexual, incorporating some of her favorite things such as travel, culture, and a deep curiosity for what turns people on. Spring into Summer is her second collection of erotic novellas. In this interview, we talk about writing, her books and what really pisses her off about marketing erotica.
I was a banker for twenty years and just didn’t have the passion for it anymore. I’m not sure I ever did, but it provided a means for a living. I actually left the first time after ten years to pursue a writing career. Unfortunately, I got sick. I returned to the job after my recovery with the intention of only staying a couple of years to pay off debts. Who knew it would be another ten years before I worked up the courage to leave again?
Any regrets?
Regrets? Not a one. I wasn’t meant to be in banking until the end of my days, but I can see myself writing until I die.
Do you have a favorite author or work that inspired your writing?
I have many authors who inspired me, but as for my stand-by favorites, I’m a fan of Charles Bukowski and have read all his books, including his poetry. I loved The Magus by John Fowles, and Story of O by Pauline Réage started me on my sexual journey when I read it at eleven. I also enjoy the style of Haruki Murakami, and his latest IQ84 was brilliant.
Your first book, Fall into Winter, was extremely well received–I know I loved it! What seems to be the most common aspect about the book that resonates with reviewers and readers?
I think it’s the stories because the themes are universal: younger man, older woman; sexual exploration; lost love. Aside from that, what perhaps sets the book apart is the caliber of the writing. I’m a stickler for the mechanics of writing.
A signature of your work is that it is extremely well written erotica. The characters are easy to visualize as real people with realistic motivations and appetites. The stories are sexy and sexual. In my reading experience, that’s more the exception than the norm–but I could be making an unfair generalization about the genre. (More than a few “erotic novels” I’ve read seem to be about as erotic as a gynecological exam, or worse, read like a bad porno clip.) Does that perception make marketing your books more challenging?
Firstly, thanks Alex so much for your compliment about the characters and stories in my books. They are always given top priority along with writing that is as flawless as I can make it. Marketing is a challenge for all indie writers, but for a writer in my genre, there are added hurdles. You’ve touched on a few. Erotica is often perceived as pornography. No matter how many times I’ve answered this question to dispel the myth, it will never be enough. People believe what they want to. Given this, many sites will not review erotica. There is also the perception that erotica is poorly written, and some of it certainly is, but that goes for all genres. It’s just that there are scores of self-published erotica books out there, so the numbers are skewed against it. In addition to this, I also fight against people who think authors of erotica are sexual deviants and therefore pariahs of the writing world. I don’t have enough time and energy to fight all the ignorance.
Writers of horror, thrillers, [and] mysteries don’t ever need to “explain” their genres; erotica writers do. Sometimes, I just get tired of being on the defensive and want to slap my book into a reader’s hands and say “Read the fucking book before you judge the genre or me.”
Aren’t you happy you asked this question, Alex? 
I knew I was touching the third rail when I did, Eden! Thank you for your passionate and candid response. Let me grasp that third rail a little longer: Do you think the 50 Shades of Grey craze has helped or hurt other writers of erotica?
I believe it’s helped writers of erotica—exposing the genre to a mainstream public even though good erotica has been around for ages. What E.L. James has managed to do is ignite a fire of enthusiasm for the genre. This has given other writers of erotica an opportunity to get their work noticed. In a nutshell, if you wrote crappy erotica that didn’t sell before “50 Shades,” perhaps you got a small lift from the success of it. In the end, it’s still crappy writing. Hopefully, the good stuff will rise to the top in the long run.
Tell us about Spring Into Summer.
Ahh, Spring into Summer is my second anthology of four stories; two take place in the spring and two in the summer. I’m very proud of it, and I rarely say that about any of my work. Readers who’ve read my first book, Fall into Winter, will notice a more sensual language in this current release. I was heavily influenced by poetry while writing it, and I think my words reflect that.
Was a series of seasonal-themed books always planned from the beginning?
Oh no. I’m not that organized. I wrote short stories with the intention of selling them individually to traditional publishers but got rejected. As a result, I packaged my writing differently as an anthology and tied them together with a common thread—the seasons. I knew I would get two books out of it. It’s time to move on unless someone’s discovered another season I don’t know about.
Ha! What have you learned about marketing your work since your first book–in particular, lessons/ideas you will put into place for the new book?
I learned most of what I know by following the right people (like you, Alex), forming meaningful relationships, and observing those I respect. Sincerity and kindness go a long way in real life and just as far in the virtual world where there are fewer cues to draw upon. Without a supportive network, it’s difficult to get the word out about anything, let alone a book. I’m no marketing guru, so I’ll provide my simplified plan. Continue writing good books and have friends help spread the word when it’s done. Make sure you reciprocate in kind. I don’t mind helping anyone if I can, but it’s never tit for tat with me. That’s why a genuine relationship is important to establish from the get-go.
What’s the toughest part of being an independent writer?
Doing it all—design, editing, marketing. I hire out what I can’t do myself. What this translates to is less time to write. What it provides me is full control. It’s a compromise I can live with.
You blog extensively. How has your blog helped your brand?
My blog is mainly to highlight other authors and make those meaningful connections I spoke of earlier. I like blogging and it’s been a home to my flash fiction, poetry, and other work I’ve done.
What’s coming up after Spring Into Summer?
My next book will be a full-length novel. I am not committed to a genre as yet, but I have ideas for a story, and erotic elements will definitely be included in the book. I’m a fan of writing that arouses me, and I’m not just talking about sexually.
I can’t wait to see what you create next. Thank you, Eden. We look forward to your next book and many more.
Thanks so much, Alex for interviewing me. I loved your questions and so appreciate being here on your wonderful site.
About the book
In Spring into Summer, a collection of emotionally-charged erotic novellas, four women explore their sexual limits, marked by love, lust, and loss.
Life for Claire Pelletier is changed forever when she meets a professor who teaches her a most important lesson in “A Season for Everything.”
Evelyn Sutton goes in search of a man in “Unlocking the Mystery” and discovers the key to her own heart.
With an open mind, Ava Connors attends a party but wonders if reality can ever live up to her hottest fantasies in “Summer Solstice.”
In “The Lottery,” Sierra Zhao sacrifices herself to numerous men to help a friend, fully aware of the consequences.
With locations in London, Dublin, Cape Cod, and Bangkok, these four women will seek pleasure to alter their lives and push their sexual boundaries.
Buy Links: Ebook formats
More About Eden and Her Work:
–Alex Greenwood
