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.