One general rule should be most strictly adhered to in publicity, and that is, be honest and be sincere. Nowhere is the rule "honesty is the best policy" more unanimously justified. You may be as enthusiastic as you please, but the book should be put forward for what it really is. Only under such handling does it stand a chance for the full success its qualities warrant. This all reverts to the question of the editorial conception of a volume. Some books are not made for great sellers; they are written for the keen enjoyment of a select educated few; and if so presented that they fall into the hands of the popular novel devourer, they will surely be condemned, and the condemnation will reach and have its effect upon many who should legitimately have bought the book. On the other hand, a novel of no literary quality thrust into the hands of a person of bookish tastes will make an influential enemy, who will doubtless have among his followers many persons to whom the book would appeal. It is best to find out what people will take the book, and advertise it to them. The process of emasculating your presentation of it by cutting out everything that would keep anybody from reading it is a dangerous one. The dislikes of the world of readers are too many for one to be able to dodge them all, and, after all, most of us like a positive rather than a negative volume. Just because many people do not read essays,—to take an extreme case,—is no reason for avoiding the statement that yours is a volume of essays. Fortunately, there are thousands upon thousands of people who do read essays; and if the book is a good book of essays, they will bring their influence—that word-of-mouth influence which is almost as powerful as a "puff" by President Roosevelt—to bear upon non-essay reading people, and you will be the gainer by that much for your wisdom and honesty.
These observations are germane, and worthy consideration because commercialism and the endeavor to produce big sellers are always an influence to overstate, misstate, and be extravagant in the praise of a volume. But such extravagance always discounts itself in the mind of the reader, and experience has pretty definitely proved that what a prospective buyer wants is a straightforward concise indication of the story and its quality. A word of praise quoted from a review may help him make up his mind, yet he probably knows it is a pretty poor book of which some newspaper doesn't say "Holds the reader's interest from cover to cover" or "We hail the author of this volume as one of the most promising of our American writers."
In considering the practical details of publicity, it will be clearest to take them in chronological order. First: The book should be thoroughly and critically read. The person in charge of the publicity ought to have every volume put into his hands as soon as it is accepted. When he has read it thoroughly and has formed his idea of it, he discusses it thoroughly with the person responsible for its acceptance. From this discussion, in which the sales department is represented, evolves naturally the "editorial attitude" upon which every line of future publicity and every sentence of salesman's talk will be based. Without a complete understanding throughout the establishment of the "editorial attitude" the entire publicity will be aimless and unconvincing.
The first work in publicity on a season's book is probably the catalogue, which must be had ready for the salesmen when they go off on their trips. The aim of the catalogue is to present as full an account of the book as possible. It is meant for the eye of an interested person, who can be counted upon to read rather a lengthy notice. Every possible detail of price, number of illustrations, paper, size, kind of binding, table of contents, previous works by the same author, are given, and thus it becomes a complete reference book. It is the general custom of publishing houses to issue a complete catalogue in the Fall, with a supplemental catalogue in the Spring containing the books of the Spring season. Most firms also bring out a Fall list, to present their Fall books, which would be buried beyond notice in a bulky complete catalogue. In this Fall list not infrequently the Spring books are included, making what is really an annual catalogue. These three catalogues are essential, and they are as a rule supplemented by many special book lists and pamphlets. A holiday catalogue is a steady institution in nearly every publishing house. Its aim is to present to Christmas buyers the most attractive volumes of the house's issue, and it is usually elaborate, with many illustrations, a fine cover, and it is often printed in colors. Then there are frequently issued catalogues of books on special subjects, art, children's books, special editions, etc.
The uses of catalogues are many. A large number are sent to the publisher's best friend, the bookseller,—sometimes imprinted with his name,—who distributes them. They also go out by mail to special lists of people who are known to be interested in books, and a large number are sent to persons who write asking information.
In elaborateness the circular follows close on the catalogue, and it has quite as wide if not a wider field. It is large or small, depending upon the importance of the book. Sometimes it reaches the dignity of a bound pamphlet, but it is usually a single leaf or at most a four-page folder. Here again, all necessary information of price and contents is given at length. But as the person into whose hands the circular falls cannot be counted on to be interested beforehand, the whole make-up and arrangement of the circular is calculated for drawing attention and fixing interest. The circular, therefore, must be made attractive.
And here should be introduced a word in general on the appearance of the printed matter that is sent out by a publishing house. It must be good printing. It must be attractive printing. It is the indication to the people whose eyes it meets of the work of the house it advertises. Few people want to buy badly made books; and, unconsciously, if a circular or catalogue is commonplace and badly printed, those qualities will be attached to the book advertised. And it is quite true, on the other hand, that the distinction and comely appearance of a circular will prejudice in favor of the book. Moreover, a circular's service can be rendered only when it attracts attention, and what is spent in aiding it to catch the eye, through making it artistically beautiful and printing it in color, will bring its return and more in the added efficiency produced. There are, doubtless, people who would not be affected by bad printing, but people of taste, the people who most influence the sale of books, are sure to be antagonized.
Probably, the most useful circular of all is the little leaf or "slip" circular. It is printed on both sides, and is inserted between the leaves of books of similar interest to the one it advertises, usually about three to a book. It is made the size of the ordinary business envelope, for it is also used in direct circularization of lists and as an enclosure with bills, statements, and sometimes with general correspondence. Often, when advertising two or more books, it has four or even eight pages, though the latter makes it almost too bulky for insertion in books. These larger circulars have an order form attached giving the list of books, and a place for the name and address of the prospective buyer,—a device to make it as easy as possible for him to order his selection. When such circulars are inserted in books either the order form is left off, or something substituted in its place, for, as can readily be seen, the order form is a bid for direct business by the publisher which would naturally be obnoxious to the bookseller. Larger and more elaborate circulars than these as a rule are used only for direct circularization. The subject of circularization is much too important and complicated to be exhausted in a few paragraphs, or even in an extended article. Enough has been said here, however, at least to suggest the circular's field.
The next problem in publicity to be taken up is the poster. The poster has had its ups and downs, and in some quarters is a somewhat discredited form of advertising, but it has its value. The booksellers always demand posters. The one great argument against them is that posters good enough to attract attention, that is, with a good design and in colors, are somewhat expensive for book advertising. If properly exhibited, they sell books, but the difficulty lies in the fact that if they are too attractive, they are likely to find their way into a poster collector's portfolio before they have been exposed long on the board. Yet, especially with leading books of fiction, this is one of the risks that must be taken, for with each such publication, the public eye must be caught with the fact of the book's issue, and for this purpose a striking poster has no equal. For serious books inexpensive clear type posters are quite sufficient.
The book being now nearly off press, there will be needed some matter for the paper jacket that slips over and protects the cloth cover while the book is on the stall. Most important is the brief note on the front that serves to indicate the quality of the volume and thus guide the purchaser. On a book of fiction fifty or not more than seventy-five words of the very best possible presentation of the book is required. Here is the place where most of all the prospective purchaser's interest must be aroused. Here the most felicitous publicity inspiration is needed—and the problem is to indicate the story, yet not tell it, and to pique curiosity to the buying point. On books of a serious nature a jacket note is just as essential, if not more so, but the problem is different. The prospective purchaser of such a book as "Irish History and the Irish Question," "The Flower Garden," for example, has an interest in the subject already aroused. What he wishes to know is the scope of the volume and the manner in which the subject is treated. The note for such a volume, therefore, should contain a plain, straightforward statement of the importance of the book, the point of view taken, a brief table of contents indicating the most important divisions of the subject, and some mention of the author's special qualification for writing the volume. On the back of the paper "jacket" and on the little flaps that turn at the sides of a book, it is customary to put advertisements of cognate books. Often these paper jackets are treated in elaborate poster style, and for good reason, since as a rule they are the first part of a book a buyer sees, and his attention is not likely to be attracted if only cheap paper be used.