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:
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• 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 years I've been recommending distributors for overseas based publishers looking for representation in the ANZ marketplace. I've also managed a business unit responsible for book distribution to booksellers, specialist accounts and direct/academic sales. I've been a publisher, I've been a customer, I've been a supplier/distributor, I've been a competitor, I've worked for one of the largest wholesalers in the world. Many, MANY hats so I've seen the ANZ supply chain from a number of angles and to be honest, I don't like what I see anymore. The ANZ book supply chain is shot.

One of the problems we have in Australia is the lack of a physical wholesaler. The overseas wholesalers (Baker & Taylor, Ingram, Gardners, Bertrams) have a presence in Australia in one form or another (staff, agent etc) but they don't have a warehouse here filled with books. As most of us know, there are real benefits with the consolidation of orders to a wholesaler, not to mention metadata workflows, customer service, and operational efficiency. With their economies of scale and commercial pull, orders can be sent to Australia and New Zealand within a couple of days - something the local market cannot compete with no matter how hard they try. But that's wonderful for the major US and UK publications. What about locally published books?

United Book Distributors (owned by Pearson) is arguably the best DC in Australia but there are other good operations like ADS (Hachette), HEDS (Harper Collins), Random et al. But they are not interested in taking on the smaller guys. It is not financially viable. The options for distribution with the mid to smaller presses is shrinking. We have Footprint (academic and specialist publishers), NewSouth (UNSW + local and international trade, specialist publishers), Woodslane (predominantly trade), Capricorn Link (trade), Peribo (trade), Dennis Jones (trade/independents) and a handful of others. But getting one of these guys to take on your list isn't easy. Publishers complain about the amount of calls and the set-up process, and then when they have distribution, they complain about lack of attention, lack of sales, and other issues that come from too many presses being distributed within one organisation.

No one is really interested in one book distribution - there isn't any money in it! Even publishers who do a dozen titles a year, that might sell a few hundred - or a couple of thousand even - is not worth it, particularly if the book is cheap. Margins have eroded, the sales aren't there to support it, costs of distribution are high, and if you are also doing sales & marketing representation, you really need high priced books to justify all your costs. 

Overseas publishers, particularly niche, scholarly presses and those that publish less than 25 books a year, are having a hard time finding someone to represent them. The majority of these presses don't provide enough wholesaler discount to entice a supplier, costs of freight (particularly from overseas) are high, and returns are a nightmare for everyone. So my question for overseas publishers in particular is DO YOU REALLY NEED AN AUSTRALIAN DISTRIBUTOR? You are already doing sales and marketing in your own territory, you should already be working with the major wholesalers, and you should be digital. Can you do it yourself? Do you need a sales & marketing agent or someone on the ground in Australia to oversee things? There are dozens of questions you need to answer. Let RM Marketing Services guide you in this process.

What are YOUR THOUGHTS on the Australian book supply chain? With changes over the years at Tower/Scribo, DA/Central Book Services, the MDS closure, and future changes (Inbooks, Wiley rumours?); changes to the print and digital landscape; changes to consumer/bookselling buying habits - what are your concerns and issues? Are you a publisher? Are you a distributor? Share your story with others....