One of my long-time publisher clients — who is also a prolific author — is travelling to Sydney to deliver a keynote at a major event. She asked if I’d be willing to help sell her books before and after her talk. Of course I said yes, and immediately thought of my "conference box" — a sturdy plastic tub that came with me to every event.

Back in the day, that box lived in my office, ready to go at a moment’s notice. It had everything I needed to set up a professional bookstall: Square reader, a float in a secure cash box, printed price list, catalogues, flyers, bookstands, stationery, and of course — the books! It became such a reliable presence that colleagues at events would say, “Ask Rachael — she’ll have it,” whether they needed blutak, scissors, paperclips, a spare pen, or even felt dots to stop a backdrop marking a venue wall.

That conversation reminded me how important it is to be fully prepared for direct selling — especially for indie authors or small presses doing it for the first time. This post is for you: a hands-on guide to help you sell your book with confidence, manage payments smoothly, create a standout display, and connect meaningfully with the people who stop by your table.

Why Sell Your Book in Person? 
​Selling directly isn’t just about making a few sales. It’s about building visibility, starting conversations, and understanding who your readers are and what draws them to your work. When someone meets you at a stall, hears you speak, or chats with you at a community event, that connection is powerful.
​
By showing up in person and having your book on hand, you’re:

• Creating memorable, personal moments with readers
• Building your brand through interaction
• Capturing immediate interest with no barriers to purchase
• Collecting emails for future marketing
• Earning more per sale by skipping retailer margins

Accepting Payments with Square
If you’re new to direct sales, I highly recommend the Square Reader. It’s a compact device that connects to your phone or tablet via Bluetooth, allowing you to take credit and debit card payments quickly and professionally. Once your product listings and prices are set up in the Square app, you’re ready to sell. Square can process most internationally issued cards via tap, chip, or swipe — and it handles contactless cards and mobile payments easily. 

For remote payments, Square’s Virtual Terminal allows you to manually enter card details through a web browser, but this feature only works with Australian cards when used in Australia. So, if you’re selling to international customers from overseas via the Virtual Terminal, that’s where the limitation comes in.

A few tips to keep things running smoothly when you are direct selling:

• Ensure your Square Reader is fully charged and your phone has enough battery for the event
• ​Decide whether to build the processing fee into your book price or add it on (generally I absorb it for direct selling at events)
• Customise your receipts in the app to include a thank-you message or your website
• Test your setup before event day so you're not fumbling in front of customers
• Check the situation regarding Wifi at your venue

Many readers appreciate receiving a digital receipt, and I often get follow-up messages or positive feedback just from that small touch.

What to Pack in Your Direct Selling Box

Creating a well-stocked direct selling box means you’ll always be ready to sell at a moment’s notice — whether you're heading to a market, talk, expo, or launch. Mine was a simple plastic tub that fitted nicely onto my trolley, but it still held everything I needed to look professional, feel prepared, and stay organised.

Book and product essentials

• Books — Bring more copies than you think you’ll need. If you're speaking, demand usually spikes afterwards. You can always put books under the table or leave a box or two in the car. 
• ​Price list — If you have a lot of different books, print up a price list so people can see at a glance how much your books are. Consider having one to display, and another for your own reference (especially if you’re doing multi-book bundles).
• Bookplates — Pre-signed adhesive labels make personalisation easy if you’re in a rush or posting books later
• ​​Good pen for signings — Choose a reliable, quick-drying pen that won’t smudge on glossy stock. And make sure there's plenty of ink in it. Take a few!

Payments and admin

• Square Reader (and charger) — Your go-to for accepting card payments on the spot.
• Mobile device and charger — Essential for running the Square app, QR codes, and capturing sign-ups.
• Portable battery pack (power bank) — A lifesaver at all-day or outdoor events where power points are limited or unavailable.
• Cash float in a secure box — Still useful for regional events or older audiences who prefer cash.
• Clipboard with sign-up sheet — A practical way to collect names for your mailing list for those that aren't good with technology options
• Printed QR code — Link to your newsletter sign-up, website, or bonus content.
• Business cards — Depending on the nature of the event - professional networking vs sales to a general fiction reader, you may want to take business cards. Make sure they include your email, website, and social handles.
• Printed checklist — Tape it inside your box lid so you can do a final check before every event.

Marketing and promotional tools

• Bookmarks, postcards, flyers, or catalogues — Great for browsers who aren’t quite ready to buy.
• Pull-up banner or A3 poster — Adds height and context, especially useful if your title isn’t well known.
• Lightweight table signage — Small signs with messaging like “Signed copies available” can draw people in.
• Order forms or invoice sheets — Handy for bulk purchases, follow-up sales, or library interest.
• Branded packing materials — A professional touch. Include paper bags, tissue, or branded stickers if you're going all out. You can buy simple small bags affordably and you can trawl through the aisles at your local Officeworks for some fun ideas on how to build your brand and make an impression.

Display and setup

• Bookstands or easels — Try to display books upright. Visibility matters. Look at how booksellers create eyecatching displays and follow their leads.
• Tablecloth — A clean, neutral tablecloth instantly makes your setup look polished. It also covers a table so you can store items below without people seeing them.
• Trolley or foldable crate on wheels — Makes transporting everything far easier — especially if parking is a distance away.

Stationary, extras and comfort items

• Stationery kit — Include scissors, blutak, sticky tape, bulldog clips, paperclips, pens, sticky notes, and a notepad.
• Felt dots — Stick these to signs or displays to protect venue walls.
• Wet wipes or microfibre cloth — For wiping down dusty table surfaces or book covers after transport.
• Tissues, hand sanitiser, water, and a snack — Essentials for long events. A muesli bar might save your day.
• Name badge or lanyard — Helps attendees know who you are and invites engagement.
• Tape Gun - for reboxing after the event. If you like to be organised, have replacement sticky tape roll for your dispenser in the box as well.
• Boxcutter - keep handy when opening boxes - be careful not to cut through the books if you've packed them all the way to the top! Many of us marketers learned that early in our careers!

Have some fun with the above! Also use sites like Redbubble to create some fun point of sale material or as a giveaway. If you find yourself at a large event, think about something people can collect that promotes your book and makes it memorable long after the event has finished up.

Presentation Matters
You don’t need a flashy setup, but your table should look welcoming, tidy, and easy to browse. Books should stand up, not lie flat. Use boxes or risers to add height. Pricing should be clear. If you’ve had a great review or endorsement, consider framing a pull quote to add interest.

Even if someone isn’t ready to buy, offer a takeaway flyer or bookmark. That simple exchange might lead to a sale later or a new newsletter subscriber.

Creating Real Reader Connections
The real power of direct selling is in the connection. You don’t need to be pushy — just present. A warm greeting, a quick explanation of what your book is about, or a moment of shared enthusiasm can spark interest. Some people will linger and chat. Others will circle back later. Be approachable, not scripted.

Invite people to join your mailing list or follow you on social media. Be open to personalising their copy. Ask what brought them to the event. These moments are what make a reader remember you — and they often lead to meaningful word-of-mouth sales.

If you're speaking at the event, tell people where they can find you afterwards. Many of your best customers will approach you post-talk, when the topic is fresh in their minds and they feel personally connected.

Quick Tip for Industry Events
If you're at a networking or industry-focused event rather than a traditional sales opportunity, bring a notebook (or use your phone’s notes app) to jot down action points, connections, or marketing ideas. Whether it's follow-up names, sales leads, or a reminder to try a new setup idea — write it down while it's fresh. The best insights often come when you least expect them.

Final Thoughts
When someone asks, “Can I buy your book?”, you want to be able to say “Absolutely.” Having your own version of the conference box means you’re not only prepared — you’re professional, calm, and ready to connect.

In-person selling isn’t just about moving books. It’s about visibility, building trust, and turning browsers into buyers and readers into advocates. With a little preparation and the right tools, you can make the most of every opportunity that comes your way.
​
If the above post has been helpful, feel free to comment and share your thoughts.

The publishing world is busy. Whether you're running a university press, small trade house, specialist imprint, or juggling multiple roles across departments with limited capacity—it’s easy for things to pile up.

​You’re not alone—and you’re not failing. You just need someone who can step in and get the work done.
That’s where we come in.

RM Marketing Services provides experienced, flexible support for publishing businesses—without the overheads of a full-time or part-time hire.

Led by Rachael McDiarmid, RM Marketing Services brings 35+ years of senior-level experience across trade, academic, scholarly, and professional publishing. Her background spans product development, sales, marketing, library supply, distribution, metadata, and content acquisition. If you’re in the publishing industry, she’s probably worked in your world—or closely alongside it.

Since 2014, the business has supported publishers, distributors, authors, and book-adjacent organisations both locally and internationally. Whether you need extra capacity, specialist skills, or help clearing the backlog, we work inside your systems and alongside your team to get results—quickly, professionally, and with minimal fuss.

What outsourcing looks like
Outsourcing with RM Marketing Services means engaging us for a set number of hours each week to deliver clearly defined tasks or projects. Some clients need 4–5 hours on a regular basis; others require 10. Special projects can extend to 15–20 hours per week when the business can accommodate it (and we do our best to say yes when we can!).

We’re not staff, but we operate like part of your team. In fact, we’re often included in team meetings or invited to attend events and planning sessions. We represent your organisation professionally, work with minimal supervision, and quickly adapt to your systems and workflows.

To keep everything on track, we use Clockify for time tracking, Asana for task management, and Less Annoying CRM for project pipelines and contacts. We’re familiar with most platforms used in the publishing industry and are fast learners—whether it’s legacy systems or the latest digital tools. We’ll work with what you’ve got, plug into your processes, and keep momentum going.

We’re also used to working under contractor agreements and NDAs for multinationals, or with just a clear brief via email for smaller presses. Once we’re set up and connected to the right contact, we’re good to go—no time wasted.

What we actually do
Our core services cover all aspects of sales, marketing, publicity, and book distribution. This includes:

• Campaign management – strategy, implementation, and tracking
• Author communications and care – consistent, professional engagement
• Publicity and promotions – pitching, follow-ups, and documenting campaigns
• Social media & EDMs – content creation, scheduling, and delivery
• Website & catalogue updates – keeping information current and aligned
• Special projects – typically focused on distribution (print and ebook), platform/vendor research, ERP support, Australian market strategy, or content acquisition

💡 Need ideas or examples? We’ve pulled together a list of practical suggestions based on real-world projects we’ve delivered—everything from campaign management and distribution support to author mentoring and special sales.
👉 Explore ideas for publishers here

Not a publisher—but published a book?
If you’re not in publishing full time but you’ve released a book as part of your business—think executive coaches, mediators, policy consultants—we’ve got you covered too. We offer tailored services to manage your book’s social media, email marketing, website presence or design needs. While we typically work in 4+ hour weekly blocks, we’re happy to consider 2-hour packages for select clients, subject to availability. A corporate rate applies for businesses outside the traditional book industry.

Why publishers and organisations trust us
We’re not an agency. We’re not a generic admin service. And we’re not here to take on your leftovers.

RM Marketing Services focuses on the work that matters—supporting your campaigns, communications, strategy and sales.

If something’s been sitting untouched in your inbox or keeps slipping down the list, we’ll help shift it into the “done and dusted” column.

Clients value our ability to:

• Deliver results with minimal supervision
• Work seamlessly with existing teams and systems
• Handle confidential or strategic work with professionalism
• Offer flexible, no-fuss arrangements tailored to your business

What you get

✅ 35+ years’ senior publishing experience
✅ No on-costs (no leave, super, payroll tax, or tech setups)
✅ Fast onboarding and flexible availability
✅ Clear communication and defined deliverables
✅ A strong industry reputation (just check Rachael’s LinkedIn)

If you're at capacity, stuck on something important, or just need experienced support to keep things moving—we’d love to help.

📩 Get in contact and let’s talk about what outsourcing could look like for your business.

Whether you’re an author, publicist or small publisher trying to get media attention for a book, it all starts with one thing: the hook.

Let’s be honest: not every book is going to get a feature in Good Weekend or land a primetime radio interview. Media outlets aren’t hanging around waiting for your press release to drop. They’re looking for stories—and not just any stories, but ones that hit a nerve, tap into the cultural mood, offer a surprising insight, or speak to a news moment already on the boil.

So how do you make sure your pitch doesn’t fall flat? And how do you find the hook in your book—the one that makes a journalist pause and say, “Hmm, there’s something here”?

Let’s talk about developing a great pitch, making your book matter, and using tools like ChatGPT to help you dig into the angles that media actually want.

Why Your Pitch Might Be Failing (Don’t Take It Personally)
First, the truth: most book pitches to media fail. Not because the book is bad, but because:

• The hook’s not strong enough
• The pitch doesn’t connect to current conversations
• It sounds like an ad, not a story
• It’s too generic, too niche, or just not timely

The good news? All of this is fixable. But only if you stop thinking like a marketer and start thinking like a journalist.

What Is a Hook Anyway?
The hook is not your book’s topic. It’s the angle that makes it interesting now. It’s what makes your story part of a bigger conversation or controversy.

It’s “Women over 50 quitting corporate life to start again” — not “memoir about leaving my job.”
It’s “how Aussie men are learning to talk about grief” — not “book about losing my dad.”
It’s “what burnout really means for high-functioning execs” — not “leadership and wellbeing tips.”
The hook gets you in the door. Your book can come later.

Types of Hooks That Work (Especially in Australia)
Journalists and producers want ideas that plug into bigger issues, including:

• Timely news links (economic downturns, climate anxiety, cultural moments)
• Social issues (mental health, gender equity, multicultural identity, housing)
• Personal stories that reflect wider challenges
• First-person insight or expertise on something topical
• Contrarian takes (“Why remote work is making us miserable” etc.)
• Visual, quirky or unusual stories for TV or digital
• Seasonal or event tie-ins (Christmas lists, school holidays, awareness weeks)

If your book touches on any of these, there’s your door.

Using ChatGPT to Find Your Angle
Let’s say you’re stuck. You know your book has something valuable to say, but you’re not sure how to shape it into a story that media will care about.

Here are three ChatGPT prompts to help:

Prompt 1:
“Act like an Australian journalist. What are five current media angles or headlines that could be inspired by this book: [insert short book description here]?”
→ This gives you potential hooks based on current media trends.

Prompt 2:
“What are some talking points from this book that link to current issues in Australian society?”
→ Great for tying your book to newsworthy themes.

Prompt 3:
“I’m pitching a non-fiction book to ABC Radio. Give me five segment ideas or interview titles that would make a compelling on-air discussion.”
→ This can help you shape your pitch their way, not yours.
You can also ask ChatGPT to roleplay a hostile producer and see where your pitch falls flat. It’s confronting—but helpful.

Developing Talking Points that Stick
Once you’ve got your hook, it’s time to nail your talking points. These aren’t summaries of your book. They’re short, sharp, quotable insights that show:

• Why this topic
• Why now
• Why you

If you’ve written a memoir, pull out the wider social commentary. If you’ve written about leadership, say what’s changing right now for leaders. If your novel reflects real-world trauma, connect it to something we’re seeing in the news.

And please, don’t just say “this book is for everyone.” It’s not. Be specific.

What Media Actually Want
Producers and editors aren’t doing you a favour. They need good stories that speak to their audience. You’re there to help them do their job. Respect that.

Your job is to:

• Pitch them a story
• Show why their audience will care
• Be ready with clear messaging, interview skills, and supporting content
• Follow up once, then leave it alone (they are under-resourced and drowning in emails)

The Hook is Your Key. Don’t Pitch Without It.
If you haven’t found the hook, don’t send the pitch yet. You’ll burn the contact and waste your shot. Use AI to help you dig deeper. Ask colleagues. Ask a friend who listens to the ABC religiously.

And yes, ask AI. It's a godsend for these sort of tasks. And even as a highly experienced marketer, ChatGPT and I are BFFs when it comes to this sort of stuff. Don't be afraid of it. Utilise it and embrace it.

Struggling to Pitch Fiction, Poetry or Children’s Books?
Still having problems with it? That’s okay.

Not every book lends itself easily to a media hook—particularly fiction, poetry, or children's books. The news angle might be light, the themes subtle, or the author unknown. In those cases, you might need to pivot the pitch: focus on a personal story, a unique setting, a writing journey, or even the book’s visual appeal. Sometimes, the best you can do is make it charming, brief, and well-timed.

For example, a children’s book on kindness might connect to World Kindness Day or school wellbeing programs. A novel set in a fictional coastal town could draw on the author’s regional ties or inspire a travel feature.

And yes, there are times when publicists will pitch without a strong hook—because the author is Elizabeth Gilbert, or Sarah J. Maas has just breathed in a different direction and the fandom’s in meltdown. In those cases, media want the story before you even send the email.

But for the rest of us, it pays to do the work—especially for non-fiction.

The hook still matters. Even when it’s not obvious.

RM Marketing Services provides outsourced marketing, sales and consulting support to publishers, distributors, and other organisations across the book industry.

Authors can also book a one-hour consultation for practical, professional advice on every aspect of book marketing and sales—from advertising and campaign planning to digital strategy, websites, social media, publicity, and events. We offer discounted options for referrals and pre-payment of 5+ sessions.

Take advantage of Rachael McDiarmid’s 35+ years of experience in publishing sales, marketing and management today! 

​Contact us to find out more.

​Let’s talk about mentoring
When was the last time you heard someone talk about mentoring in the industry? I talk about it all the time. When I first started in the book trade in 1990, I was taken under the wing of our Sales & Marketing Director and for the first four years of my career he shared his immense knowledge with me. He took me to book fairs so I could meet booksellers, he included me in meetings with library and educational suppliers. He taught me how important customer service is and how to get distribution right for all your channel partners. When the company was sold, again I was lucky to be led my two extraordinary women – one the Managing Director and the other my General Manager. Together with the business manager, they taught me about leadership, communication, management, and how publishers operate as a business. I’m forever grateful to all of those who spent their time giving me the best education I could have on the industry. And over the years I’ve shared that experience with other people.
 
Mentoring insights
To me, mentoring is about sharing knowledge and offering insights to help mentees grow. It’s also about skills development and how one can use those for career advancement. It’s also about networking. When I was younger and heard the word “networking” I was filled with dread. While I am naturally an extrovert, I thought networking was about small talk at parties and going to business events to try and “sell your wares”, so to speak. But in this industry, having an extensive network is a wonderful way to increase your knowledge and expertise. It’s not something to fear – it’s about something to grow in the years you work in publishing. It’s also about confidence. And it’s about learning – discovering who’s who in the industry and who does what. It’s about learning about trends and opportunities. And learning from your mistakes!
 
Industry observations
One of the things that concerns me most in the past decade is the lack of knowledge many people in the industry have about key players or sales channels. They don’t know the who’s who, they don’t know the what’s what. These are people who have been in publishing for many years but have not been encouraged to look outside their role or the company they work for – and this disturbs me. We are living in a time where the industry itself creates events to discuss the latest trends or issues but not everyone can attend these or the entry price is too high for smaller publishers. And then when people DO attend, how do they share this knowledge with others?
 
Training and induction
I’ve heard horror stories about inductions at publishing companies. I remember a time when a lot of thought was put into it – weeks of getting to know colleagues and what roles they performed. Months of learning about systems and how everything works. And longer for truly understanding the philosophy of a publishing company. Trust me, there is one. I worked for some years with David Cully at Baker & Taylor and he once told me that “every publisher has its own story and once you knew what it was, you could find a way to work with them”. Staff may get a presentation from someone in HR that puts some sort of slogan or mission statement that “represents” the organisation but it takes a long time for that to take meaning. And some staff will never experience that. And when it comes to workflows, responsibilities and decision making, there is often not enough documented so you’re considered lucky if you get a proper hand-over with the person who was doing the job before you. These days it’s very much a case of “hit the ground running” and that means some tasks fall between the cracks.
 
Let’s piece it altogether
Where I see many publishers failing these days is giving their staff a thorough understanding of the industry as a whole. And not just in their region, but worldwide. People should know the organisations that play a part in how we operate globally. How does metadata work? How does the supply chain work? Who are the major ebook and audiobook players? Who provides content to libraries? What’s happening with textbooks? What are sales rights? How do authors get paid? How can we help our authors succeed? How does social media work? What genres are trending up and down – and why? I could come up with 100 questions that I expect publishing staff to know regardless of whether they are in sales and marketing or working in the warehouse.
 
Why mentoring is important
Everyone has a role to play and sharing knowledge is important. Having a mentoring program – informal or formal – shows leadership and a commitment to the professional development of staff. It helps with career development of existing staff or attracting top talent to your organisation. And from my own experience – whether mentor or mentee – it’s something that helps with personal and professional development. And it’s been highly rewarding.
 
I read somewhere that mentors can influence and shape the future of their industry. It can prepare the next generation of leaders. I’m more than happy to share my knowledge over the 35 years I’ve been in the industry. Are you?
 
 
Rachael McDiarmid has worked in the publishing industry since 1990 in mainly academic & professional publishing, library supply and distribution. She launched her outsourcing and consulting business, RM Marketing Services in 2014 and began teaching the Book Marketing & Sales unit at the University of Sydney in 2022. As she’s too busy running social media accounts for her publisher clients, she’s not great at managing her own channels so best you follow her on LinkedIn where she posts more frequently https://www.linkedin.com/in/rachaelmcdiarmid/

If you’ve tried to get your book into distribution—whether through a trade distributor, library supplier, or aggregator—you’ll know this question by heart:

“What publicity do you have planned?”

It’s a question that, frankly, drives many publishers and authors to distraction.

Yes, publicity is important. But it’s also one of the most unpredictable and least controllable aspects of any marketing plan. Even well-funded, carefully crafted campaigns can be knocked sideways when news cycles shift, review editors are overwhelmed, or your topic simply isn’t in the spotlight. Meanwhile, the success of a book depends on much more than whether you can secure a handful of media mentions.

Why This Narrow Focus on Publicity Falls Short
Here’s why this question is becoming outdated:

• Publicity is just one part of the equation. A complete marketing plan also includes advertising, social media, events, partnerships, retailer engagement, special sales, and more. When distributors only ask about media coverage, they ignore the many ways books actually find their readers.
• Most books don’t get widespread traditional media coverage. Thousands of new titles are released every month in Australia alone. Only a fraction will be reviewed in major outlets. A fixation on mainstream reviews overlooks the reality of a crowded market.
• Publicity doesn’t guarantee sales. Even glowing coverage sometimes fails to translate into purchases—especially without clear calls to action, retailer support, or a strong online presence.
• Other factors often matter more. Distributors often don’t ask about the author’s network, any niche audiences, or whether the publisher has a strategy for special sales—yet these can drive much of a book’s success.

Start With a Clear, Holistic Plan

Before you even think about pitching distributors, it’s worth stepping back and thinking carefully about all the factors that drive demand.

One of the most effective ways to do this is by answering practical questions about your book, your readers, and your goals. For example:

• Who exactly is this book for? What groups, professions, or communities will care?
• Are there special sales opportunities—bulk orders, associations, conferences, or corporate gifts?
• Do you have an author platform—social media, newsletter, website—that can support discovery?
• What comparable titles have sold well, and how are you positioned against them?
• What marketing activities beyond publicity will you use to generate awareness?
• What formats are you offering, and what sales channels will you pursue?
  
  

This process isn’t just about marketing—it’s about clarity. The more you know about where your sales are likely to come from, the more realistic and effective your plan will be.

Before you start imagining bestseller lists, spend some time understanding the actual sales data for your genre. Knowing what’s realistic helps you set achievable goals and focus your energy on strategies with the highest chance of success.

Why Sales Strategy Deserves as Much Attention as Publicity
One reason this publicity question can be so frustrating is that it implies media mentions alone drive success. In reality, many books don’t primarily sell through retail bookshops or thanks to reviews.

Books are also sold:

• Direct from the author’s website  
• As incentives, gifts, or in bulk to organisations
• At conferences, events, or professional gatherings
• Through speaking engagements and workshops
• To libraries and institutional buyers (although preference for them is to buy from a distributor)
• To specialist audiences that traditional media rarely reaches

If your distributor only wants to hear about newspaper coverage but isn’t interested in how you’ll reach niche buyers or drive direct sales, they’re missing a huge part of the picture. 

It’s also worth remembering: most books—especially in Australia’s relatively small market—sell in modest quantities. Even with a fantastic marketing plan, success takes time, patience, and consistent effort.

What You Can Control (And What You Can’t)
One reason it helps to think beyond publicity is that media coverage is inherently unpredictable. No matter how strong your pitch, you can’t guarantee an editor will pick up your story.

But you can control:

• How you position your book in the market
• The quality of your metadata and online listings
• Your pricing, formats, and availability
• Your advertising and social media strategy
• The relationships you build with communities and organisations
• Your direct sales and email marketing efforts

Publicity is wonderful when it comes—but it’s just one part of the mix.

A Final Thought
Distributors asking about publicity isn’t going away anytime soon. But by broadening the conversation—and coming prepared with a well-rounded marketing and sales strategy—you’ll be in a much stronger position to show your book’s potential.

Publishing is a demanding business, and the landscape is only getting more crowded. But if you approach it with clear-eyed realism, creativity, and persistence, you’re far better placed to make your work stand out. 

​Focus on what you can influence, stay realistic about the challenges, and remember: a professional approach and a multi-layered strategy will always take you further than relying on luck and a newspaper clipping.

Publicity — not to be confused with advertising or marketing — is about earned media. It’s the process of securing attention through news coverage, interviews, reviews, profiles, and event appearances. For traditionally published authors, a publicist often takes care of this. For indie authors, publicity is frequently a DIY effort — but that doesn’t mean it’s out of reach.

Start with Strategy — Not a Scattergun Approach
One of the most common mistakes I see is authors jumping straight into action: “I sent my book to 50 outlets but didn’t get any replies!” The problem is rarely the book — it’s usually the lack of targeting.

Before you even think about sending a media release or pitching an interview, pause and consider:

• Who is the audience for your book?
• What media does that audience consume?
• What topics or trends might make your book timely or relevant?

Build a shortlist of media outlets that genuinely reach the audience you want. It’s better to send ten well-researched, relevant pitches than a hundred generic ones.

Know What Journalists and Producers Actually Want

Media professionals are busy and under pressure to find content quickly. Your pitch — in the form of a media release attached to an email — needs to be easy to understand, timely, and relevant.

They don’t have time to read the full book. So you need to distil the story down to its strongest, most compelling element. Ask yourself: if this book were a news segment or feature article, what would the headline be? Why would this author’s perspective interest their readers or viewers right now?

Think beyond the book itself. Sometimes the author’s personal story, research journey, or area of expertise is the hook.

Write a Professional Media Release

A media release is a summary of the book’s newsworthiness. It’s not a sales blurb or back cover copy. It should clearly explain what the book is about, who the author is, why it matters, and how to get in contact. 

Include:
​

• A sharp, informative headline
• One to two paragraphs outlining the key themes or story
• Author background (and why they’re relevant to the subject)
• Key publication details (release date, ISBN, availability)
• A short quote (from the author or an endorser)
• Contact information and a link to the book’s webpage or press kit
• And yes — spelling, grammar, and formatting count. This is a professional pitch, not a casual message.

Don’t Forget the Extract

When pitching media, always have a short extract or sample available. This could be the first chapter or a key passage that captures the tone and themes. It’s a useful attachment for reviewers and a way for journalists to get a quick feel for the book without committing to a full read.

Lead Times Matter

One of the most important aspects of publicity that often catches indie authors off guard is lead time. Most media outlets work well in advance, especially for print and high-profile placements. Glossy magazines and special interest journals can require three to four months’ notice, while major newspapers and national broadcast programs often need two to three months. Even radio segments — particularly those covering books — usually require at least a month’s lead time to secure a spot.

The same goes for high-profile podcasts, especially those featuring bestselling authors or working closely with major publishers. Literary festivals, library events, and in-conversation appearances also require early planning, with some programming as far as six to twelve months ahead.

To manage this effectively, your publicity campaign should be staggered. Start early with long-lead media and event pitches, then shift focus to shorter-lead opportunities (such as online media, newsletters, and social content) closer to the publication date. If you leave everything until launch week, you’ll likely miss key windows of opportunity.

That said, if your book is especially newsworthy — or if you tap into a fast-moving media moment — timelines can shift rapidly. In some cases, you might become the story!

Build a Media List You Can Actually Use

Many indie authors don’t have access to the media databases that large publishers do — and that’s fine. You can still develop your own list by:

• Looking at who covers books similar to yours
• Reviewing author acknowledgements or media mentions
• Using free resources from your State Library or Writers’ Centre
• Following journalists and producers on social media
• Noting names of editors or segment producers in articles and programs — ABC Listen is brilliant at doing this and you can check online what the email configuration is to target your producer directly. 

Google is your best friend, and so are the newspaper and magazine platforms you can access through your local library. Start small. Aim for 20–30 relevant contacts across different platforms — local media, podcasts, newsletters, specialist blogs, community radio, or online magazines.

AI tools like ChatGPT are your second best friend. Learn how to use these platforms to draw out talking points and format your email approach so it is refined and targeted.

Online Publicity Is Still Publicity

It’s not just newspapers and radio interviews that count. Reviews on respected book blogs, guest articles, podcast interviews, and reels can have significant impact — especially if your target audience lives online.

When researching opportunities, consider:

• Bookstagrammers/TikTokers and reviewers in your genre
• Podcasts with niche but loyal audiences
• Literary newsletters and email-based publications
• Online communities aligned with your topic or theme

Make sure you've read their submission or pitch guidelines. Respect their time, and personalise your outreach where possible.

Events, Panels and In-Conversations

As mentioned earlier, events are another valuable form of publicity that shouldn’t be overlooked. Indie authors can (and should) look for opportunities to speak at libraries, literary festivals, bookshops, online webinars, and community events.

The key is to make the event about more than just your book. Link it to a broader conversation — a topic, a question, or a lived experience — and pitch it accordingly. Make it relevant to the venue’s audience, not just your own.

Be Prepared to Follow Up — But Don’t Pester

Sending one email and waiting for the phone to ring isn’t a strategy. In fact, most outreach happens via email these days — phone calls are typically reserved for urgent matters or high-profile media opportunities. Most pitches require a follow-up — especially closer to publication date. Keep it professional and brief. If there’s still no response, move on.

Avoid burning bridges with constant follow-ups or pushing for feedback. Not every pitch will land, and that’s normal.

Remember: Publicity Is a Long Game

Publicity doesn’t end at publication day. In fact, some of the most meaningful media coverage — particularly for nonfiction, memoir, and issue-based books — can take place months after release. It’s important to think beyond the launch window and keep your materials updated and accessible.

Consider seasonal opportunities, tie-ins with news events, and anniversary angles. If a topic resurfaces in the news, your book might suddenly be relevant again. Some journalists will revisit earlier pitches when looking for sources or feature material down the line. That’s why it pays to stay visible, responsive, and open to revisiting your pitch when the time is right.

Indie authors have a tougher road when it comes to visibility, but with some strategic thinking, well-crafted assets, and a clear sense of audience, publicity success is very much within reach.

For all authors, selling your books online can be an exciting but daunting endeavour. Whether you’re launching your first book or expanding your sales channels, understanding the basics of e-commerce is essential. This article will walk you through the key considerations, common pitfalls, and some affordable e-commerce solutions available in Australia, helping you navigate the world of online book sales with confidence.

Why Sell Your Books Online? Selling your books online offers several advantages:

• Direct Revenue: When you sell through your website, you bypass traditional bookstores and distributors, allowing you to retain a larger share of the profits. There are no hefty discounts to retailers or wholesalers, and you set your price and special offers.
• Control Over Branding: You have complete control over how your book is presented, from the imagery and descriptions to promotional offers. This ensures that your brand remains consistent across all platforms.
• Direct Connection with Readers: Selling online lets you build a direct relationship with your readers, fostering loyalty and potentially increasing future sales.

However, with these advantages come certain responsibilities and challenges that you’ll need to navigate.

Choosing the Right E-Commerce Platform
We can’t begin to tell you how many authors have come to us with ridiculous quotes for website development. We can set up a website - with or without ecommerce options - for a fraction of the price using numerous e-commerce platforms that are popular and affordable.

We encourage you to do your research and compare what will work best for you in terms of functionality, templates (design) and pricing. Here are some options to get you started on your e-commerce journey:

• Squarespace is a popular all-in-one website builder that offers robust e-commerce features, making it an excellent option for indie authors looking to sell their books online. We use Squarespace a lot! Their basic commerce option is AUD 34 a month but there are cheaper options.
  Check it out: https://www.squarespace.com/websites-start/
• Shopify is a leading e-commerce platform known for its ease of use and extensive features. It offers various pricing plans, starting at AUD 42 per month, making it a solid choice for beginners. Shopify also integrates with various payment gateways, including Afterpay, which is popular in Australia.
  Learn more https://www.shopify.com/au
• Square Online: We use Square purely as a credit card processing facility but Square Online https://squareup.com/au/en/online-store is another budget-friendly option that offers a free plan with basic features. It’s particularly well-suited for authors looking to integrate in-person sales (such as at schools or libraries) with online sales. Square Online is a popular choice for many online sellers because it’s easy to use and free to get started however it’s important to keep in mind that you’ll still have to pay for payment processing on each transaction. You can read a review on Forbes
• Big Cartel: We came across an alternative that may work for authors with a small catalogue. Big Cartel offers a free plan that allows you to list up to five products, with paid plans starting at USD 15 per month. It’s simple and straightforward, though it lacks some of the advanced features of more expensive platforms. https://www.bigcartel.com/product/pricing

Each platform has its pros and cons, so it’s important to choose one that matches your needs and budget. And don't be afraid to ask other authors what they like - or don't like - about the platform they use.

Packaging and Postage Considerations
Selling online means you’re responsible for packaging and shipping your books. This can be more complex and costly than many new authors realise.

• Postage Costs: Sending a book from one state in Australia to another can vary depending on the size and weight of the package. As of 2024, Australia Post’s standard parcel rates range from around AUD 9.70 for small parcels (under 500g) to AUD 15.70 for parcels up to 2kg. For express shipping, expect to pay more. Offering free or flat-rate shipping can attract customers but may eat into your profits, so it’s crucial to price your books accordingly.
• Packaging Costs: Good quality packaging protects your books during transit and creates a professional impression. Expect to pay between AUD 1 to AUD 2 per unit for basic bubble mailers or cardboard mailers. Custom packaging can cost more but may be worth the investment if it enhances your brand.

Managing Customer Expectations
Running an online store means you’ll be responsible for customer service. Responding to inquiries, processing orders, and handling returns can be time-consuming. Also e-commerce sites operate 24/7 - how are you going to process orders when you are on holidays? A little something to think about...

To ensure a smooth experience:

• Set Clear Delivery Expectations: Make sure your website clearly states delivery times, especially if you’re shipping from a remote location. This helps manage customer expectations and reduces the risk of negative reviews.
• Automate Where Possible: Many e-commerce platforms offer automation tools to help manage orders and send out delivery notifications. Use these features to save time and reduce errors. Make the most of the Australia Post app for example to share advance shipping notices - and updates - to your customers.
• Provide Excellent Customer Service: Promptly responding to customer inquiries is vital. Delays in answering questions can lead to lost sales, so consider setting up an FAQ section on your website to address common queries.

A few more things to consider:

• Look for a platform with integrated marketing tools. Squarespace, for example, comes with a range of built-in marketing tools that can help you promote your books:
  • Email Campaigns: You can create and send email newsletters directly from Squarespace. This feature allows you to keep your readers updated on new releases, events, book signings, awards, or special promotions.
  • SEO Optimisation: Squarespace is designed with search engine optimisation (SEO) in mind. You can easily edit meta tags, descriptions, and URLs to ensure your site ranks well on search engines like Google. This is crucial for attracting organic traffic to your site.
  • Social Media Integration: Squarespace allows you to connect your website with your social media accounts, making it easy to share content and drive traffic to your store. X APIs have been problematic in some platforms since Elon took over but other integrations usually function quite well.
  • Analytics and Reporting are important - you need to understand how your website is performing is key to growing your online sales. Your platform should provide detailed analytics that show you where your visitors are coming from, what pages they’re viewing, and how they’re interacting with your content. You can track sales, monitor inventory levels, and gain insights into your audience’s behaviour, which can inform your marketing strategies.

Final Thoughts
Selling your books online is a rewarding venture that offers the potential for increased revenue and closer connections with your readers. However, it’s important to approach it with a clear understanding of the associated costs and responsibilities. By choosing the right e-commerce platform, planning for packaging and postage, and being prepared to manage customer expectations, you can create a successful online sales channel that complements your publishing efforts.

Remember, selling online is not just about putting your book up for sale; it’s about providing a seamless and positive experience for your readers. With careful planning and a bit of effort, you can turn your online store into a thriving part of your author business.

Good luck!

In the rapidly evolving world of book marketing, artificial intelligence (AI) is no longer a futuristic concept but a present reality reshaping the landscape. For book marketers and independently published authors, embracing AI can unlock new opportunities for growth, efficiency, and creativity. While the idea of AI may seem daunting, its applications can be highly beneficial, making the book marketing process more streamlined and effective. This blog post explores the benefits of using AI in book marketing and provides practical examples of how tools like ChatGPT can assist in your marketing efforts.

As many in the publishing industry know, I teach Book Marketing & Sales at the University of Sydney. As part of that course we look at innovation in the industry - particularly in marketing - so I can't ignore AI even if I tried! Personally, I find the concept of AI scary (and yes, along the lines of "Skynet is definitely here" scary - for those that understand The Terminator reference).

I also work with the team at Monash University Publishing who released Campbell Wilson's Living with AI, part of their In The National Interest series which was an excellent summary of what we are up against. With AI being constantly in the news, I had to work out where I stood on AI especially regarding personal data, AI training and copyright while at the same time trying to understand its benefits for marketing.

I've talked to many publishers about how they are using AI (and the positive effect it had on time management and work pressures) but when a student mentioned she used it to write marketing copy to get campaigns out quicker, I started to take notice. Was I behind the eight ball? And if I was, did I care?! I found out that I did.

So instead of going to Google, I asked ChatGPT to give me some information about the benefits of AI in Book Marketing and to summarise it for this blog post. ChatGPT is a versatile AI language model known for generating human-like text. It excels at content generation, idea brainstorming, and customer engagement. ChatGPT can assist marketers by creating engaging social media posts, drafting newsletters, and even brainstorming ideas for marketing campaigns. However, it may occasionally produce responses that lack nuance or context, requiring human oversight to ensure accuracy and relevance. I asked it to list the Top 5 benefits of using AI for Authors and Book Publishers. A second later it spat out: 

The cons of AI

• Dependence on Data Quality: AI's effectiveness depends on the quality and quantity of data available; poor data can lead to inaccurate predictions and recommendations.
• Lack of Human Touch: While AI can mimic human interactions, it may lack the emotional nuance and creativity that a human marketer can provide.
• Privacy Concerns: The use of AI in marketing often involves collecting and analysing personal data, which can raise privacy issues and require careful handling.
• Cost of Implementation: Initial setup and ongoing maintenance of AI tools can be costly, particularly for small publishers and independent authors.
• Risk of Over-Reliance: Over-relying on AI can lead to a lack of critical thinking and innovation in marketing strategies.

So while we need to be aware of the above, it seems the big key takeaways for marketers is that AI can assist with content creation and generating engaging content for various platforms. This can be especially useful for authors who may struggle with self-promotion or for busy marketers juggling multiple projects. ChatGPT can be a valuable brainstorming partner. Marketers can use it to generate ideas for book launch events, promotional campaigns, or even potential book titles. By providing diverse perspectives and creative suggestions, ChatGPT can inspire new approaches and innovative marketing strategies. However, it's essential to refine these ideas to align with the brand's voice and goals. 

Embracing AI with Confidence

The thought of incorporating AI into book marketing may seem intimidating, especially for those unfamiliar with the technology. However, the benefits far outweigh the challenges. AI tools can simplify complex tasks, provide valuable insights, and enhance creativity. By leveraging these technologies, book marketers and independent authors can reach new audiences, streamline their workflows, and elevate their marketing efforts.

Remember AI is not here to replace human creativity and intuition but to complement them. It's a powerful tool that, when used wisely, can unlock new possibilities and help you stay ahead in a competitive market. So, don't be afraid to explore and experiment with AI in your book marketing journey. Embrace the potential of AI and let it help you share your stories with the world. 

This blog post was written by
Rachael McDiarmid + ChatGPT

​A website acts as a central hub for your work, providing a platform to showcase your books, share updates, and connect with readers. For small presses, a well-designed website can enhance visibility and sales. Here, we’ll explore why every author should have a website, key landing pages and design tips, and how platforms like Squarespace and Shopify can help create a website quickly and affordably. We’ll also cover ways to maximise search engine optimisation to ensure your website reaches the widest audience possible.
 
A Central Hub for Your Work
 
First and foremost, a website serves as a one-stop-shop for everything related to your work. Readers, journalists, and potential collaborators can easily find information about your books, upcoming events, and media coverage. It’s your digital business card, available to anyone, anywhere, at any time. Other benefits include:

• Control Over Your Brand. With a website, you have complete control over your brand and how you present yourself to the world. Social media profiles are important, but they’re subject to changes in platform policies and algorithms. A website, however, is entirely yours. You can customise it to reflect your personality and the essence of your work.
• Improved Credibility. A professional website enhances your credibility as an author. It signals to readers and industry professionals that you’re serious about your writing career. This can be particularly important for independently published authors who are building their reputation from the ground up.
• Direct Sales and Mailing List Growth. Your website can function as a direct sales channel, allowing you to sell books and merchandise without relying solely on third-party retailers*. Additionally, it’s a prime tool for growing your mailing list, enabling you to keep in touch with your audience and inform them about new releases and events.   *we’ll look at e-commerce tips and considerations in a future post

 
Preparing Your Website
 
When setting up your website make sure you’ve got these pages at a minimum:

• Home page. Your home page is the first impression visitors will have of your site. It should be visually appealing and clearly convey who you are and what you do. Include a brief introduction, your latest news or releases, and a clear call-to-action (CTA) such as “Sign Up for My Newsletter”.
• About Page. The about page is where you tell your story. Share your background, your journey as a writer, and what inspires your work. This helps readers connect with you on a personal level. Ensure you have a photo of you that can be downloaded in high res and used for media purposes or by event organisers.
• Books Page. Create a dedicated page for your books, with each title having its own sub-page. Include book covers, synopses, purchase links, and reviews. If you have several books, consider organising them by series or genre. Ensure your covers can also be downloaded (right click) in high res and for the love of God, put the ISBN, format, page count, and price on them. You wouldn’t believe how many people don’t put basic metadata on the book pages!
• Blog. A blog is an excellent way to keep your site dynamic and engage with readers. Share writing tips, behind-the-scenes insights, book reviews, and more. Regular updates can also improve your site’s SEO.
• Contact Page. Make it easy for readers and industry professionals to reach you. Include a contact form, your email address, and links to your social media profiles.

 
Maximising Search Engine Optimisation
 
A few more things to note:

• Keywords. Research relevant keywords for your genre and incorporate them into your website content. Tools like Google Keyword Planner can help you identify high-traffic keywords.
• Quality Content. Regularly update your site with high-quality, relevant content. This could be blog posts, book excerpts, or author updates. Search engines favour sites that are frequently updated with fresh content.
• Meta Descriptions. Use meta descriptions for each page on your site. These are the snippets of text that appear under your page title in search engine results. A compelling meta description can increase click-through rates.
• Internal Linking. Link to other pages on your site within your content. This helps search engines understand the structure of your site and can improve your SEO.
• Mobile Optimisation. Ensure your site is optimised for mobile devices. Google prioritises mobile-friendly sites in its search results, so this is crucial for your SEO strategy.

 
Some Basic Design Tips

• Keep It Simple. A clean, uncluttered design is often the most effective. Use a cohesive colour scheme and easy-to-read fonts. Ensure your site is mobile-friendly, as many users will access it on their smartphones. Sites like Weebly, Wix, Squarespace, Shopify etc have ready-to-use templates that can also be customised. Find what you like and structure your site accordingly.
• High-Quality Images. Use high-quality images for book covers and author photos. Poor quality images can make your site look unprofessional.
• Navigation. Ensure your site is easy to navigate. A clear menu structure helps visitors find what they’re looking for without frustration. An author’s website shouldn’t be overly complicated anyway.
• Calls to Action. Include CTAs throughout your site. Encourage visitors to sign up for your newsletter (if you have one), follow you on social media, or buy your books. Some of the online sites mentioned above have integrations with Mailchimp or inbuilt marketing apps that can make newsletters relatively easy to run.

 
A well-designed website is a powerful tool for authors and small presses. It serves as a central hub for your work, enhances your credibility, and provides opportunities for direct sales and reader engagement. Online platforms like Squarespace, Wix, Weebly, Shopify and others make it really easy to create a professional site quickly and affordably. By focusing on key landing pages, effective design, and strong SEO practices, you can maximise the impact of your website and reach a wider audience. Embrace the digital age and let your website be a testament to your dedication and passion for your craft.

​_____________
 
NOTE: Here at RM Marketing Services, we do websites for authors, small presses and industry organisations. We prefer Squarespace because it has a  user-friendly interface and elegant design templates. It offers a range of features including blogging tools, e-commerce functionality, and analytics. Squarespace also provides hosting and a custom domain, making it a comprehensive solution for building your author website. If you plan to sell books directly from your site, Shopify is an excellent option. It’s primarily an e-commerce platform, but it also offers a variety of website design tools. Shopify’s integration with payment processors and shipping services can streamline your sales process. We also have experience with Wix and Weebly so if you are looking to launch a new website, get in touch with us to discuss your project and our availability.

In the dynamic landscape of book publishing, the rise of digital technology has heralded significant transformations, none more impactful than the advent of ebooks. For publishers, the ebook market opens doors to significant opportunities, especially in the consumer and library sectors. Despite the challenges and misconceptions that have slowed their adoption, ebooks offer substantial benefits. This blog post explores these benefits, examines the obstacles publishers face in making ebooks accessible to libraries, and highlights key trends and statistics underscoring the increased importance of digital lending.

The Consumer Market
 
Ebooks provide consumers with unmatched convenience and accessibility. Significant market shifts occurred with the launch of Amazon’s Kindle in 2007 (available in Australia in 2009) and Apple’s first iPad with iBooks in 2010. The proliferation of smartphones, tablets, and dedicated e-readers enabled consumers to carry entire libraries in their pockets. This portability is especially advantageous for avid readers and travellers, reducing the need for physical space and the burden of carrying multiple books. Despite the jokes about always needing a charger, ebooks quickly became the preferred format for high-volume readers, particularly in genres like science fiction and erotica/romance. Ebooks often come with adjustable font sizes, text-to-speech capabilities, and other features that enhance accessibility for readers with disabilities. These options make reading a more inclusive activity, broadening the potential audience for publishers.
 
The Library Market
 
Libraries have long been pillars of community and education, and the integration of ebooks into their collections only strengthened this role. For publishers, making ebooks available to libraries means reaching a broader audience who may not otherwise have access to their titles. Digital borrowing is particularly beneficial when physical library access is limited, as seen during the COVID-19 pandemic. Although Australian university libraries generally prefer digital formats, the pandemic significantly accelerated the shift to digital, especially for textbook publishers.
 
For the larger publishers, creating their own ebook platform for libraries meant they could encourage direct relationships with their customers but they also worked with the ebook aggregators to ensure they had their content available in all possible sales channels – but saw them as competitors in many instances rather than partners or even solutions in that market. Overtime the number of aggregators decreased as they were acquired and merged into other platforms e.g. ProQuest’s Ebook Central is the platform name created by the acquisition and merger overtime of EBL, MyILibrary, ebrary.

Library Suppliers
 
We first saw the big shift to digital content with the reference publishers - as it was encyclopedias and dictionaries that were the first to transition to digital and impact library supplier revenue back in the mid to late 2000s. To counteract that change, library suppliers would work with publishers directly on a commission basis selling the publisher’s own platform. They also had to partner with ebook distributors so they could continue their role in the library supply chain and meet the tender requirements of their customers, especially if they worked in the academic library space. Library suppliers and ebook aggregators are more or less one entity these days with ProQuest and Ebsco prominent in academic library markets. Overdrive/Libby and Borrowbox are prominent in public library markets but there are a number of options available and publishers should ensure their content is available in all sales channels.
 
Challenges
 
Libraries expect content to made available in all available formats – print, ebook, audiobook, databases, multimedia, online platforms etc – to meet the needs of their readers, students, lecturers or researchers. Despite the clear benefits, publishers have historically faced several challenges in making their ebooks available to libraries:

1. Licensing Models: Traditional one-copy-one-user models have often been at odds with the nature of digital content. Libraries and publishers have had to navigate complex licensing agreements that balance fair use with profitability. Ebook platforms now offer multiple licensing models  to publishers who are able to decide what works best in terms of commercial arrangements as well as aligning it to the company's business philosophy.
2. Pricing Structures: Publishers have sometimes struggled with pricing ebooks for libraries in a way that reflects the value of unlimited digital access while remaining affordable for library budgets. The fear of cannibalising print sales has also influenced pricing strategies.
3. Piracy Concerns: The ease of digital distribution has raised concerns about unauthorised sharing and piracy, prompting publishers and ebook distributors to implement stringent digital rights management (DRM) measures that can sometimes hinder the user experience.
4. Cost of Distribution: If the publisher does not have a distributor who handles their print and ebooks, tech systems capable of making the process easier are not affordable - so manual workflows need to be implemented. Smaller publishers do not the resources to handle ebook distribution for multiple sales channels - particularly as each distribution partner has their own way to ingest metadata (if ONIX is not an option) so data templates needs to be filled in separately, workflows documented and followed, and training available so staff – and new staff - understand the requirements of each platform.
5. Content Restrictions: handling rights and restrictions in author agreements can be tricky at the best of times! It’s critical that only books with digital rights are placed library and consumer platforms.

Trends
 
Despite these challenges, the trend towards digital lending is unmistakable. Recent statistics highlight the increasing demand for library ebooks:
 
Global Rise in Ebook Lending:
According to OverDrive, a leading digital reading platform for libraries and schools, 2023 saw over 500 million ebook and audiobook loans globally, a significant increase from previous years.
 
Academic and Scholarly Libraries:
A report from the International Federation of Library Associations and Institutions (IFLA) noted that academic libraries have seen a marked increase in digital lending, with ebooks comprising a substantial portion of their collections. In Australia, for example, academic libraries reported a 25% increase in ebook borrowing in 2022 compared to the previous year.
 
Consumer Preferences:
A Pew Research Center survey found that 28% of American adults had read an ebook in the past year, indicating a steady shift towards digital reading habits.
 
The Australian Context
 
For Australian publishers, the ebook market presents unique opportunities and challenges. The Australian Library and Information Association (ALIA) has been proactive in advocating for better access to ebooks for library patrons. In recent years, ALIA has worked with publishers to develop fair and sustainable ebook lending models that benefit both libraries and publishers.
 
A notable initiative is the National E-Deposit (NED) service, a collaboration between Australia’s national, state, and territory libraries. NED enables publishers to deposit digital publications, including ebooks, ensuring long-term access and preservation. This initiative not only supports the digital infrastructure for libraries but also provides publishers with a streamlined way to meet legal deposit requirements.

The Benefits of Multi-Format Availability
 
For publishers still hesitant to enter the ebook market, it is essential to consider the benefits of making content available in all formats:

• Market Expansion: Offering books in multiple formats—print, digital, and audio—allows publishers to reach diverse segments of the market. This inclusivity can drive higher overall sales and reader engagement.
• Enhanced Discoverability: Digital platforms often come with sophisticated search and recommendation algorithms that can increase the visibility of titles. Ebooks can also be sampled and recommendations shared more easily, fostering word-of-mouth promotion.
• Sustainability: Ebooks contribute to a more sustainable publishing model by reducing the need for physical resources such as paper and ink. This aligns with the growing consumer demand for environmentally friendly products.
• Data Insights: Digital formats provide valuable data on reader preferences and behaviours. Publishers can use these insights to make informed decisions about marketing strategies and future acquisitions.

Summary
 
Ebooks offer clear benefits to both consumers and libraries, providing convenience, accessibility, and broader reach. Although publishers have faced challenges in integrating ebooks into library collections, evolving licensing models, supportive industry initiatives, and growing demand for digital content make a compelling case for embracing this format. For Australian publishers, initiatives like the National E-Deposit service exemplify the forward-thinking approach needed to succeed in the digital age. By offering content in all formats, publishers can meet the diverse needs of their audience and ensure their continued relevance and success in an ever-evolving market


Our director, Rachael McDiarmid, has been in the library ebook space since 2003 and has championed digital content for decades - particularly in academic and scholarly publishing. She works directly with ProQuest for Ebook Central as publisher relations manager for the Australian and New Zealand market and consults regularly on ebook distribution, particularly for libraries. The number of publishers who don't have ebooks available for both consumer and library markets never ceases to amaze her. It's 2024 last we checked.