From Publishers Weekly:
In the abstract, a book tour looks like it might be tremendous fun: packed houses of adoring fans, expense-account dinners in fancy far-flung restaurants. I’ve now promoted three books across a couple dozen states and 10 countries, and my experience has looked much more like bleary-eyed airport breakfasts at one end of the day and modest register tallies at the other, which begs the question, was this worth it?
But that depends on the answer to a different question: what’s the goal?
A dozen years ago, before I’d started writing books and was still publishing them, I asked my brilliant boss, Peter Workman: Why do we expend such a huge effort producing seasonal catalogues? Why do we run around like lunatics to finalize covers, on-sale dates, point-of-sale promotions, and everything else—such a frenetic outburst of redesigning, numbers crunching, consensus building, and decision making—all just to produce this printed marketing item? Who cares?
Peter put things into perspective. All that work, all those decisions—that was the real point; the catalogue was the impetus to get it all done.
I look at going out on the road through a similar lens. I do, of course, want to achieve the obvious immediate goal of selling units of the new title, just as we did, of course, need to get the catalogue to sales conference. But selling those hardcovers is just one component of my goal and my publisher’s too, and the booksellers’ too—we all have bigger long-term priorities: the next book, the one after, all the future books in all the years ahead, keeping the lights on.
For my part, I want to write better and better books, published better and better, making for a satisfying and successful career. And I think it’s the lessons learned, the experiences had, and the people met on the road that can make this achievable. On book tours, I go places I’d otherwise never have visited, I’m introduced to readers I’d never have met, and I make friends and fans and important contacts who’d otherwise be strangers.
I’ve learned about contemporary bookselling over dinners in Scottsdale, Ariz., and Austin, Tex.; about the evolving roles of libraries in Stamford, Conn., and Rockport, Mass.; about the terrific mystery conferences in Albany, N.Y., and Toronto; and about honing elevator pitches for radio in Amsterdam and Dublin.
. . . .
Touring has been my MFA plus my MBA, too—establishing a professional network, understanding the marketplace, polishing creative output, and even inspiring me to generate an entire book.
Link to the rest at Publishers Weekly
As PG has mentioned before, with respect to the value of book tours by authors, he believes it’s no longer 1972.
Do book tours sell some books? Undoubtedly.
But what is the cost per book sold, particularly if an author values his/her time? Had the author not gone on a book tour, could he/she have spent the time and energy doing something that was ultimately more profitable with that time and energy (particularly considering that a great many authors are committed introverts)?
If publishers really believe that face-to-face contact between an interesting and persuasive salesperson and a reader who is willing to come to a bookstore to listen, why not hire a skilled salesperson to do the book tour?
Just like writing talent, the talent for selling products or services, particularly on a face-to-face basis, is not evenly distributed throughout humanity. If you have ever been in the presence of someone who is skilled in face-to-face sales, you will immediately notice the difference between a talented salesperson and a typical author squirming at a book signing.
PG has often thought that James Patterson’s success in selling a lot of books derives in significant part from his pre-writing experience of twenty-odd years as an executive working at the largest advertising agency in the world (where he ended up as CEO). Patterson knows far more about how to advertise and sell products than any employee at any publisher and has used his talent to sell far, far more books than he would have had he permitted his publishers to handle all his book promotion and advertising.
In response to the question, “Who better to sell a book than the person who wrote it?”, PG suggests the rational answer is, “Someone who earns his/her living by selling things.”