Creating Your Book Talk
By Brunonia Barry | January 23, 2017 |
PHOTOCREO: Michal Bednarek
With my third book, The Fifth Petal, coming out tomorrow, I’ve finally put the finishing touches on my elevator pitch. I come from a marketing background, so you’d think it would have been the first thing I’d do, but, for each of my books, there could have been at least 5 different quick pitches: some seemingly contradicting others, some so vastly different that you wouldn’t have thought they were for the same book. The one I settled on was this: With modern Salem now home to thousands of neo-witches, could the hysteria happen again? What would a modern day witch-hunt look like in Salem?
I’m not a big fan of elevator pitches, but I understand that they’re a necessary compromise. If you have just a moment to speak, and someone asks what your new novel is about, you’d better have some polished verbiage ready. If you don’t, you’ll have lost a valuable opportunity to spread the word. Not that it does the story justice, there’s always so much more to tell, but a concise pitch can offer a potential reader an invitation to a broader, deeper conversation.
But what do you do when you need to tell them more? As I set out on my book tour, something I haven’t done since 2012, I find myself trying to see the bigger picture. I have one hour at each location to tell my story, do a reading, and conduct a Q&A with the attendees. That all sounds good, but to really talk about the book would take days. So what parts should I reveal, and what should I leave for the reader to discover? What will motivate audience members to read the book for themselves?
Let’s start with a dose of truth. This book took five years to write, and it’s not a simple story. It contains three mysteries, winding through three time periods that move all the way back to Salem’s witch-trials of 1692. The subject matter touched on is vast as well: colonial and European history, witchcraft, murder, music therapy, alcoholism, sound healing, tree lore, biblical references, Norse and Celtic mythology, banshees, non-linear time, psychology, and complex trauma. Even PBS would need a month of nightly specials to cover the same territory.
So how do you include those subjects in your talk without confusing a potential reader? When is less actually more? The elements I listed above weave in and out of the story, providing imagery and building texture, but they in no way describe the narrative. If I tried to speak about them all in my presentation, potential readers would probably run screaming from the building. So how do you find a balance between discussing the broad scope of the novel and getting lost in the weeds?
I’ve learned some of the answers through trial and error. Hopefully, I can make the process easier for you. At least I can let you know what works for me. I’ll share a few dos and don’ts and, wherever possible, I’ll give examples that tie-in to my new novel.
Tip One: Keep any readings short.
This advice was given to me by my first publicist. Readers think they want to hear the author read, and you need to give them that, but unless you’re incredible at it, reading for more than a few minutes generally falls flat. The few times I suffered a bad case of overconfidence and chose to disregard my publicist’s advice, I saw for myself how right he was. Trust me, there’s nothing worse for an author than the realization that your audience is tuning out. The last thing you want to hear yourself say is: “Hey everybody, why don’t we all stand up and stretch?”
Tip Two: When describing the plot, stay in the present tense.
This is a trick learned from my screenwriting days, and it works just as well for an author event. Describing the narrative elements in present tense makes it far more active, which, in turn, pulls the reader in. That’s why most book jacket descriptions are written this way. In fact, if you’re having trouble describing your story, take a look at your jacket copy. It’s often the best way to get started and is usually easy to tweak (if necessary) to suit your current needs. This way, you’ll have a high level of confidence that you’ve covered all the important elements in a relatively short time frame. Think of it as a road map for would-be readers.
Example: When a teenage boy dies suspiciously on Halloween night, Salem’s chief of police, John Rafferty, now married to gifted lace reader Towner Whitney, wonders if there is a connection between his death and Salem’s most notorious cold case, a triple homicide dubbed “The Goddess Murders,” in which three young women, all descended from accused Salem witches, were slashed on Halloween night in 1989. He finds unexpected help in Callie Cahill, the daughter of one of the victims newly returned to town. Neither believes that the main suspect, Rose Whelan, respected local historian, is guilty of murder or witchcraft. But exonerating Rose might mean crossing paths with a dangerous force. Were the women victims of an all-too-human vengeance, or was the devil raised in Salem that night? Can Callie and Rafferty find the killer without becoming victims themselves? And if they cannot discover what truly happened, will evil rise again?
Tip Three: Don’t confuse the reader.
Who, what, when, where, why, and how? To varying degrees, these are the questions that need to be addressed. A mystery might just hint at some of these answers, while other genres might reveal more. But in all cases, the reader needs to have a basic idea of where the book is going and the essential question it’s seeking to answer. If you’ve used your jacket copy, you’re probably more than halfway there. But if you decide to go another route, I urge you to address these questions before you get to any of the more obscure subject matter in your book. If you don’t, your potential reader will be confused. And if you can’t lay out a logical progression of ideas in your presentation, there’s no way your audience will be able to understand what they might experience by reading your book.
Tip Four: Consider the audience.
Ideally, the presentation should change a bit with each audience and location. Talking about Salem to New Englanders is very different than trying to explain this quirky city to an audience in the Midwest. You don’t need to rewrite your entire presentation each time your audience changes, but it’s important to consider what might be of interest to them. Ask yourself these questions: Why would this group be interested in the topics your book addresses? What are the common elements between your book and this audience? Are there events, people, history, etc., associated with this place that are addressed in your story? Is there a universal conflict or belief that you share with them?
Example: History casts a long shadow in Salem, dividing the city in half. Many people long to erase the memory of the witch-trials, but it is that dark history that fuels our economy, drawing tourists from all over the world. Those who want to “ditch the witch” find themselves at odds with the merchants who rely on the tourist dollars to survive. “The Fifth Petal” is a classic story of the haves vs. the have-nots. An alternative title for the book could be: “A Tale of Two Salems.”
Before getting to each tour location, I will try to determine what burdens of history or economics their city carries, and whether Salem shares any of them. This can be a great topic for discussion during Q&A.
Tip Five: Introduce the main characters
This is one of the most important elements, because if a potential reader isn’t hooked by your characters, they probably won’t read the book. So how do you do this succinctly, without delving into full biography and backstory? A quick description of the main characters will usually do it.
Example: Rose Whelan, once a respected writer and historian suffered complex trauma when three young friends were brutally murdered in 1989. Now homeless and publicly blamed though never charged for the murders, she roams the streets predicting the death of everyone she meets.
Example: John Rafferty, once a New York City detective and now Salem’s chief of police moved north because he wanted a simpler life, but what he finds in Salem is far more complex than what he was trying to escape.
Rule Six: Make sure your presentation includes the reason you wrote the book.
Writers don’t write simply to create a bestselling novel. While that would be nice, no one can anticipate the market, and I can’t imagine spending years of one’s life just trying to create a book that’s been crafted to exploit some unknown future trend. It’s not money that drives us but our own inner need to communicate and share some element of our experience of being human.
At the WU UnConference this year, Donald Maass asked us to consider the one thing we really believe and want to communicate. He challenged us to get that one thing into everything we write. Though it took a long time for me to drill down to that one thing, when I got there I found it was quite simple: We are all one. It seems that each of my novels deals with this belief, usually in a way that suggests the opposite and requires some kind of healing and understanding to bring people together.
Example: The Fifth Petal is a story about the “other,” and the power of history to both hurt and heal.
I’ve finally finished putting together my book talk, though I’m sure it will change along the way, as it always does when faced with an audience. But this one’s already different, and it hasn’t even left my office yet. Since Salem is really a character in the novel, changing and growing as characters do, I’ve created a slide show of images that depict the two Salems, alternating those with meaningful quotes from the book, mostly uttered by Rose. I’m starting with the book jacket copy, then I’ll show the slides, each one a cue for me to speak about something I feel is important to the story. I have no idea whether or not it will work. I’ll have to let you know.
Meanwhile, I’m hoping you can tell me how you put together a book talk. What do you say about your story if you have just thirty seconds? What do you say if given an hour?
Are there any tips you’d like to add to my list? Any you’d like to remove?
Brunonia Barry is the New York Times and internationally bestselling author of The Lace Reader, The Map of True Places, and The Fifth Petal, chosen #1 of Strand Magazine’s Top 25 Books of 2017. Her work has been translated into more than thirty languages and has been an Amazon Best of the Month and a People Magazine Pick. Barry was the first American author to win the International Women’s Fiction Festival’s Baccante Award and was a past recipient of Ragdale Artists’ Colony’s Strnad Invitational Fellowship as well as the winner of New England Book Festival’s award for Best Fiction. Her reviews and articles on writing have appeared in The London Times, The Washington Post, and The Huffington Post. Brunonia served as chairperson of the Salem Athenaeum’s Writers’ Committee, as Executive Director of the Salem Literary Festival, and as a member of Grub Street’s Development Committee. She lives in Salem, Massachusetts with her husband, Gary Ward, and their dog, Angel.
Great Tips! I’ve used some of those (back in the days I used to do events), but all of them are fresh reminders that will also help even if I do not do an event – so when someone asks me about my book, I don’t stammer out: “There’s these characters and stuff happens” (yeah, I have actually said that! Laughing! Lawd.)
Kat, I think I’ve used that same line. I know I’ve said “stuff happens…” So funny. I’ve always dreaded the moment someone asks what my book is about. Now, at least I have a few words to mumble before I excuse myself.
What intrigues me the most is the idea of the “two Salems”. What is the key event that brings this conflict into sharp relief?
The multiple timelines present a challenge. Others have this issue and wonder how to focus? How do you convey the breadth of a story without making it too complicated and, as you say, confusing the reader?
I’d say stick, for the most part, to the main storyline, which in most cases will be the present day storyline. That’s the most relatable. Main problem. Main protagonist. The key event that captures the significance of the story.
For an author it can feel like simplifying and dumbing down one’s story, but the purpose of the pitch (or book talk) is not to do all the work of the whole novel but only to intrigue folks just enough to read it.
There’s good buzz on your book, Brunonia. Looking forward to it.
Brunonia’s book is fabulous, Don! I think it is her best work yet.
This is some awesome advice, Brunonia! I’m printing this one!
Best of wishes for your book tour.
Hugs,
Dee
Author of A Keeper’s Truth and GOT (Gift of Travel)
Thanks so much, Dee. I loved “A Keeper’s Truth!”
Brunonia, this is perfect timing for me today. I just confirmed a book presentation for my novel Greylock. And the presentation takes place at Herman Melville’s historical home Arrowhead at the foot of Mt. Greylock. A really nice tie-in for the story. Can you give us tips on reading aloud? I’m comfortable talking about my story, the characters, writing, but reading aloud my own work is a challenge. Do you advise to just read the opening chapter? You say read for only a few minutes but does that mean 5 minutes? 10? A couple of short scenes? Great post today, thanks so much!
What a great speaking venue, Paula!
I try to read two short pieces. Five minutes is ideal, but I’ll read a longer scene if it’s one that really depicts the story. I try to stay under ten. I actually find that reading something to start relaxes me, I’m better with that than facing the audience cold, but I think the key is to do what most relaxes you first. When reading, I do try to avoid scenes that are too heavy on dialogue (some is fine, but back and forth, having to vary voices to indicate character changes seems hokey to me, so I don’t do it) It’s good to pick one scene from the beginning, something that sets the stage for what’s to come. And then I always pick something midway through, usually my favorite scene or the one I consider my best writing.
“Greylock” sounds great. Just put it on my must read list.
So helpful and so respectful of your readers! Thanks, I’m squirrelling these tips away for the future.
I’ll be watching for your speaking schedule, Ellen. I LOVE your new one!
Brunonia,
Over the course of revising my novel I’ve played with one-line pitches, jacket-cover copy and synopses, all of which have helped me discover deeper threads in my story and get clarification on underlying themes. I, too, have a lot of elements woven into my tale, including magic and Irish mythology, so the challenge has been to find the core and keep it simple. I’m printing this out for now and future reference, so thank you! and best of luck with your book talk. It sounds cool!
Susan, I think you’re right. Keeping it simple is key. It really does help to be involved in every step of the process, so you can refine your message. Finding the core is so important, especially when you first get out there to present the book. Later, I find that readers often enhance my own understanding as they offer feedback. That’s always fun and sometimes finds its way into my evolving presentation.
Thank you so much for this post. You’ve given me much-needed advice. Yesterday while writing in the coffee shop, a customer stopped and asked me if I was writing a report. I told her I was finishing my novel. She asked me the dreaded question: “What is it about?”
I said “uh, uh, uh.” Followed by: “Fourteenth century England.”
Her eyes rolled back in her head. I’ve been writing this novel for years and all I can manage is “uh, uh, uh”??????
Thanks for clarifying what I need to do. And the best of luck on your book tour. You’ll do great!
Ha, Lorraine! The dreaded question! The other question I always dread is: “Have you written anything I might have read?” That one never gets any easier. If you haven’t yet published your book, you feel weird, and if you have, but they haven’t read it, it’s always awkward. It can be just as awkward when they have.
Wow – this post is not only super helpful, you’ve totally convinced me to buy and read The Fifth Petal. And not only that, but to put it at the top of the TBR list. Bravo! Thank you, Brunonia.
Wow, Vaughn! That’s the best news I’ve had all day. Thank you.
Best with your planned tour – sounds exciting.
I think you need to develop all those pieces whether you’re ever going to speak about your book in public or not – logline; book description in 50, 100, 250 or so words; basic premise; themes; how to present it to different groups of people who might be interested for different reasons…
You will find yourself digging for those when you have to write ad copy, or answer an email, or put something up on a discussion thread online.
I like your list – it is much better to decide ahead of time which pieces you’d read from your novels to which audiences, than to suddenly have to face someone who wants you to share a section which will provide the flavor of your writing and story – and have to make a decision on the spot.
Thanks, Alicia. I hadn’t thought to write up the 50, 100, and 250 word descriptions, but I’m going to do that now. That will help a lot.
Brunonia Barry:
Thank you for getting me thinking about elevator speeches and one-hour book talks. I’m a nonfiction writer that Therese Walsh let lurk on Writer Unboxed. I have a 3 inch diameter white button with one burgundy print sentence: Ask me about A 1961-65 Park College Diary. I’ve only been asked about it once and that was at the 50th year reunion for the Park College (now Park University) class of 1964. I was on the planning committee for the class of 1965 reunion and was given permission to give a talk about my work in progress and as yet unpublished diary. It’s to be based on blog transcriptions of the nightly (I never missed a night) diary entries I wrote starting on January 1, 1960 as a high school pupil in Iowa and then a student at Park in suburban Kansas City, Missouri. I began the blog on January 1, 2010. I transcribed my last entry on August 9, 2015. I continue to post a monthly update. I did not do well in my talk and at one point said “This isn’t going well.” Fortunately the social media manager at Park had made slides to accompany my talk and I relied on him to show them to help get me through the talk. I learned from the experience. In the future I will have my remarks written out and I’ll no longer try to wing it.
This sounds like a very interesting book, Barbara. Reading a diary is always so engaging, and one from the 60’s would be fascinating, I think. It really does help to write out what you’re going to say, at least with bullet points. I get off topic so easily, and that always grounds me. Can’t wait to hear more about your WIP.
Congratulations Brunonia!!! These are great tips. Since I have a stutter, I will usually ask someone else to do the reading. I don’t know what it is about reading aloud but I’m suddenly 10 yrs old again and in front of the classroom trying to spit out words. Pure agony. For everybody.
I’m fine during conversations and Q&A, with my mental dictionary going :)
I have just the opposite problem, Vitaya. I have trouble with the point by point presentation but enjoy reading my work. That isn’t to say that I’m good at it, so I still keep it short. But sometimes, if I get tense, I’ll do a reading to calm down for a minute.
I’m an adult with dyslexia and I hear the echoes of the old school-days’ taunts before I read. But all the audiences I’ve read for have been so supportive–and I get such a rush once I’m done. Reading after reading the old negative feelings are being replaced by a new confidence.
But I admire your ability to talk off the cuff, Vijaya. It’s too scary for me to fly without a net. : )
I admire that you take a chance, Leanne. I don’t suffer dyslexia but I’m quite shy, so reading aloud gives me confidence, too. Plus it’s nice to hear your writer’s voice spoken.
Great advice, Brunonia – thanks for sharing these ideas!
Having just visited Salem for the first time last November (where I really enjoyed meeting you!), I’m fascinated by your description of how the town is divided on how it promotes – or downplays – its unique history.
As far as tips, I usually read from three sections of the book, and I try to make sure each excerpt serves a specific purpose, such as capturing the tone, establishing the primary conflict, introducing other important characters and their main conflict, etc. And I also choose excerpts that have a clear/compelling “button” at the end, whether it be a punchline, a cliffhanger, or a poignant thought.
Bottom line, I want the audience feeling and thinking about the story by the time I’m done.
Hi Keith,
I really enjoyed meeting you as well. I hope we have the Unconference here again. I love the idea of capturing tone and primary conflict, and I try to end with a cliffhanger as well. Getting potential readers both thinking and feeling the book is great advice.
Thanks for the great advice Brunonia! I’m saving this post and using it to create my own book talk.
I write Middle Grades fiction. If I don’t engage the kids right away they’ll start throwing spitballs! Asking “What would you do if…?” questions works for me. Since I write historical fiction, I also give them a few horrifying facts about life in those days–such as the amount of horse manure in the streets, the experience of child labour, corporal punishment in the schools, etc.
As for reading, I keep it brief and give them a choice. I title my selections with names that sound scary, violent or disgusting and let them vote by hollering or stamping their feet.
Not sure if these could be applied to a more mature and sophisticated audience, but it does keep them involved!
Great tips, Rita. I want to try the voting by hollering and stamping! It might liven things up. It sounds as if you know your audience well and have them riveted. I want to come to one of your book talks.
This looks terrific. Just saved it for when I have a book to talk about!
Let me know how it works for you when you do use it, Carol. Also, please add any tips you learn along the way. I’m still learning what works and what doesn’t.
Great tips, Brunonia, and I’m definitely looking forward to reading The Fifth Petal.
One thing I would add is to practice at home. Time yourself while you give your entire speech several times, so that you become comfortable with it and have a good sense of how long it is and where you could speed up or slow down.
Practice your readings, too, partly for timing, but mostly to identify what words and phrases to stress, where to modulate your volume, etc.
I know you know this! But sometimes authors think that since they know their work so well, they don’t need to practice reading it aloud. If you want to do justice to your work, practice is essential.
Giving a book talk is a kind of performance, and rehearsals make for good performances.
This is a great tip, Barbara. Thanks. I’ve been practicing, and editing, this talk for the last few weeks. One thing I notice is that the time varies a lot. I have to learn to slow down when I read. I think I’m getting there. We’ll know tomorrow.
You’ve hooked me. Good luck with your talk. Thank you for the tips.
Thank you, Leanne.
I was lucky enough to read an ARC of The Fifth Petal. At the risk of sounding like a fan-girl, let me just say I believe it’s Brunonia’s best novel yet.
So wish I could come see your talk, Bru!
Thank you, Kim! That means a lot to me.
Lots of good food for growth here, Brunonia, many thanks. I’m uneasy with reading and, like you, go too fast. It’s hard to slow down!