People Who Will Be Interested in My Book

May 9, 2019 § 24 Comments

Chelsea_B_BlackWhite (1 of 1)-11By Chelsea Biondolillo

This list was inspired by the bookstore events coordinator who wanted to know, “What is the target audience for your book (i.e. history buffs, scientists, gardeners, kids, retirees, etc.) and why do you think your book will interest them?”


  1. People who were children.
  2. Anyone who has ever seen a bird close-up, or who has longed to.
  3. My mother.
  4. That one childhood friend who will probably skim the pages of a copy at a bookstore, to see if she can tell whether any of the essays are from the time in my life when she is certain she loomed large. Though she’s in there, she’ll never know where exactly, so she’ll decide against buying a copy.
  5. Those of us inclined to carry a stone around, for luck or company.
  6. My ex-husband’s second wife.
  7. People who thought it was going to be a book about birds. Half of them will give up halfway through and the other half will think it’s pretty interesting for a bird book that isn’t exactly about birds.
  8. That one acquaintance who reads literary nonfiction by women writers so he can impress the kind of women who read literary nonfiction by women writers (even though they all end up going “crazy” on him). He doesn’t know yet that my book might work against in him in that regard.
  9. People who pick up feathers, even though it is against the law to do so.
  10. Students assigned it in their advanced nonfiction workshops by professors with innovative and admirable pedagogy.
  11. People who don’t normally like nature writing, but who make an exception in my case.
  12. Women who at least one person has called crazy.
  13. Half a dozen people I met once and made an impression upon, most likely in my thirties, as I was more memorable then than I’ve ever been.
  14. Anyone who starts out their days with a lot of ambition and big plans and then finds themselves sinking into the mud of their memories, the things that were said to them, by them, over them, who finds that the view of the middle distance out a picture window can be enthralling in the worst way, capturing minutes and even hours of the day before you notice it’s happened. Something important is out there, you and I both know it, we just have to maybe look a little harder or for another moment or two to figure out what it is.
  15. Owners of tattoos they don’t regret, despite the side-eyes of a certain types on public transit and in long lines at the grocery store.
  16. Owners of lonely hearts.
  17. That other childhood friend who will read her name on a page and think at first that I have maligned her. A closer read will reveal otherwise, but there’s no telling if my book will get one from her.
  18. Anyone who has run away from something.
  19. A small cadre of lurkers who have quietly and steadfastly supported me through a lot of bullshit and a few parades. They probably won’t even tell me, until I run into them somewhere unexpected, and that will be a wonderful and endearing surprise.
  20. Readers inclined to possess pretty books. It is a pretty book, after all.
  21. Those few dearest, brightest lights who are hearts of my heart. Who bolster, cajole, inspire, comfort, and champion me. Who I bolster, cajole, and hopefully inspire and comfort right back. They will tell me that everyone should be interested in my book, and I will tell them I believe them.
  22. Those of us who ran the long way ‘round until we came back home again.
  23. Those of us afraid that home has been lost forever.
    Chelsea Biondolillo is the author of the essay collection The Skinned Bird and two prose chapbooks, Ologies and #Lovesong. She lives and works outside of Portland, Oregon, in a house her grandparents built.


RX: Self-Promotion for Writers

April 25, 2019 § 10 Comments

Case_Jennifer_PortraitBy Jennifer Case


When I was in high school, ready for my first part-time job, I remember walking into grocery stores, or through the hallway of the indoor mall, willing store managers to notice me. I fantasized that I wouldn’t have to go up to the guest services counter and do the humiliating task of asking for a job application. Instead, something in my eyes and my open, receptive face would hone them in. I could just stand there, fluorescent light shining on my head, and they’d say, “Hey! We need a new garden clerk/barista/baker, and you look perfect. Would you like a job?!”


No manager, of course, ever approached me. In the end, I had to ask the customer service representatives for applications and make sweaty, follow-up calls, but this, in many ways, is how I also felt about book promotion. I wanted the end result—decent sales and the right kind of readers—but the means of obtaining that attention…? I was a high school student all over again, staring at a list of emails I needed to write, cold calls I should make, and people I should have been networking with six months ago rather than now. I sat there, frozen, not so much with fear, but something heavier and more stone-like.


The irony of the publishing industry doesn’t escape me. Writers tend to be introverted. They spend years observing the world, sitting alone, writing and rewriting their manuscripts, and yet that first year after a book is published, they are supposed to metamorphose—suddenly and completely—into sparkly, bedecked extroverts, fully capable of contacting all the important media outlets and confidently, but unassumingly, convincing others that this excerpt/interview/craft piece/reading is worth attention. As Sarah Fawn Montgomery wrote in her post on this blog, there’s a madness to book marketing, and it can be brutal.


As well-documented by many:

  • A tendency to stop responding to emails. Or to respond with over-enthusiasm and too many exclamation points.
  • Sheer exhaustion, often leading to hermitism or the reclusion of oneself in backwoods cabins, teaching jobs, or volunteer work.
  • A shrill rise in the voice that others interpret as—and may in fact be—desperation.
  • Overuse of social media.
  • Accusations of shamelessness and subsequent loss of friends (especially on social media).
  • Humility, whether reactionary or innate, potentially leading to a book that falls into the great void.
  • Paralyzing self-doubt.


Usually nothing more than bed rest, long walks outdoors, and plenty of (nonalcoholic) fluids. In severe cases, and when privilege and means allow: a publicist. Most cases, however, will resolve with the following home remedy:

  • After each painfully arranged reading you give at an independent bookstore, purchase a book. Let them form an ever-increasing stack on your nightstand. Then, in moments of self-doubt, set aside your own work, your own hopes for your work, and simply relish the work of others’.
  • Read more in the next year than you did in the two years before. Read books that have nothing to do with your own projects and do not help you understand your market or competition. Read the award-winners but also books by smaller presses. Read books written by writers with very different lives from your own.
  • Allow yourself to get caught up in these books. Stay up late, turning their pages. At times, shorten your own workday to instead simply read. Memoirs, essay collections, novels, poetry: try them all.
  • Let these books remind you of what made you want to write in the first place. That there is a purpose for their existence beyond sales figures and self-promotion. A purpose that has nothing to do with the egos of writers, but with something larger: The joy of reading words on a page. Of digging into complex truths. Of appreciating the lives of those around us. Of simply being a reader.
  • Repeat as many times as necessary. Bank account/work obligations/dependent children non-withstanding, there is no risk of overdose.

    Jennifer Case is the author of Sawbill: A Search for Place (University of New Mexico Press, 2018). Her essays have appeared in journals such as OrionMichigan Quarterly Review, Literary Mama, Fourth River, Sycamore Review, and Zone 3. She teaches at the University of Central Arkansas and serves as the Assistant Nonfiction Editor of You can find her at




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