9 Myths About Book Publicity That Are Holding You Back
Publicist Marissa DeCuir shares nine myths about book publicity that hold many writers back by asking the wrong question.
After working in book publicity for nearly two decades, one question still makes me cringe: “Can we do this?”
“Can we promote a book that came out three years ago?”
“Can we reach readers without social media?”
“Can we market a book that doesn’t neatly fit into one genre?”
The real opportunities (and the most fun) lie not in “can we,” but instead asking “How can we do this?”
You can’t just use the same approach for every book, author, and audience. What works for one project may flop for another—and that’s okay. That’s not a failure, that’s a sign that there’s no one-size-fits-all solution when it comes to publicity. The problem is, when publishers, authors, or even fellow publicists fixate on old rules about what can or can’t be done, they might be missing out on some great opportunities.
So let’s retire some of the outdated thinking that still circulates in the book world. Here are nine myths that need to quietly exit the room, debunked by what’s actually working in the modern publicity landscape.
1) “Backlist titles can’t be promoted.”
Backlists are no longer publishing’s dusty attic. Online culture has transformed how we consume information, and revolutionized relevancy. I’ve seen books published years ago catch new fire through seasonal hooks, anniversaries, cultural moments, targeted niche outreach, or clever tie-ins to current news. A backlist book only needs the right opportunity; and there are more opportunities than ever, thanks to how trends and information circulate online.
2) “Self-published authors can’t find success.”
This thinking is at least 15 years out of date. The current market rewards quality, consistency, and finding your niche–not who signed the contract. Many indie authors have strong reader engagement, more control over their marketing, and faster production timelines. And traditional media is no longer dismissing self-pub by default; if the book is well-produced and compelling, outlets and readers respond.
3) “You must print ARCs to get any press.”
Printed “Advanced Reader Copies” (ARCs) are still useful, but not everyone needs them (or even wants) them. These days, digital galleys and watermarked PDFs are just as good, if not better, for reviewers and journalists. Print is still great, particularly for those who have been in the industry for a while, like librarians and booksellers; they often (not always, but often) prefer print books. But even they are using digital platforms like Netgalley and Edelweiss more and more frequently. Digital ARCs have made it possible for authors to get their work out there, without spending a lot of money on a bunch of printed copies.
4) “I can do this on my own.”
Writing is often a solo activity, but publishing works best as a team effort. Think about it: You’ve got publicity, marketing, organizing events, making sure your metadata is spot-on, getting media and influencers on board. It’s a lot to handle, and adds up to a full-time job (especially if you’re publishing multiple books). Authors should have control over the process, but that doesn’t mean you have to do everything yourself, all the time. Having support doesn’t take away your ownership as a writer, or the time and creativity you put into your work—it actually protects those things.
5) “My publisher will promote my book.”
Publishers do promote books—but maybe not to the level some authors imagine. Publishers have to spread their attention across a lot of books, sometimes hundreds, every season. Naturally, they put more resources into the ones they think will make the most money. That doesn’t mean your book isn’t important, but it does mean its success depends on everyone working together. The publisher gives you a starting point, like getting your book into stores, doing some basic promotion, and helping with sales. But it’s often up to the author and their team to put in the extra, creative effort that connects directly with readers. The best way to get the word out about your book is to work together with your publisher, rather than relying on them to do all the work.
6) “In order to become a bestseller or revive a backlist, an author needs to go viral on TikTok.”
Okay, let’s talk about TikTok (specifically “BookTok”) and its impact on the publishing world. It’s been a big deal over the past few years—but it’s not driving the whole industry. We’ve seen how social platforms can rise and fall in influence over time. If you want to boost sales, there are lots of ways to do it—like targeted ads, digital marketing, and discount newsletters like Chirp and Bookbub. There are also booksellers who really get behind a title, niche communities like romance readers or horror fans, and local groups like historical societies. You can also get the word out through podcast interviews, book festivals, book clubs, and clever tie-ins with the time of year. TikTok is just one way to reach readers (for now), but it’s not the only way.
7) “Authors need a huge social media following to succeed.”
Having a platform doesn’t necessarily mean having a huge social media following. Having a platform can also mean building a reputation, gaining experience, and establishing credibility in the fields that are important for your book and your audience. For some authors, social media may be the way to go, but for others, their platform could be their 30 years as a lawyer, or their five years teaching middle-grade students, or even just running a gardening newsletter with 400 dedicated subscribers. Sure, social media can help grow your platform. But pursuing followers is never worth forcing yourself into a digital space that totally drains you. If your social media presence feels forced or inauthentic, people will be able to tell—and they’ll be less likely to engage, making the whole effort counterproductive. In short, building a platform is about finding what is genuinely going to help establish your credibility, and help you build a real connection with your readers.
8) “Podcasts and small blogs aren’t valuable.”
Podcasts are personal, always accessible, and make it easy to connect with niche topics. They’re great for reaching small groups of people who are really interested in what you have to say—and these are the people who will often buy what you’re selling. And small blogs may not seem like a big deal, but they can actually help with search engine optimization (SEO), and a lot of bloggers will also post their reviews on Goodreads and online stores. Plus, a lot of bloggers are actually people like librarians, teachers, parents, book club leaders—people who are often connected to wider communities who may also be interested in your work. Getting attention from big outlets is great, but all those smaller mentions really add up.
9) “You need a giant ‘big break’—a viral moment, Oprah pick, New York Times review, national TV—to sell well.”
Most successful books aren’t born in explosive, “big break” moments; they grow gradually through layered, sustained moments. A strong local news story, a themed book club pick, a festival or conference appearance, a librarian’s end-of-year list, months of podcast conversations, handfuls of influential bloggers, Bookstagrammers, and BookTokers—these things stack up. Slow-burn success is actually the most common form of success.
Final Thoughts
The book world can be overwhelming, with so many voices competing for attention. But this isn’t a bad thing; it’s proof that people are eager to read. Don’t overworry about “what’s popular right now”; instead, think of trends as hints about what people are searching for. Don’t get stressed if your publishing journey doesn’t look like someone else’s. Your most important goal is connecting with the people who matter most: your readers. With a little creativity, determination, support, and patience, you will find fresh ways—ways that work for you—to reach them.
Every author has an audience. Every book’s journey is filled with opportunities to connect with them.
So let’s stop wasting time and opportunity asking, “Can we do this?”
Instead, let’s ask: “How can we?”
