The Publicity Perspective...

An interview with Alison Barrow, PR Director at Penguin Random House, about how book PR works and what a 'dream author' looks like...

Hi everyone!

I hope you’re all having lovely weeks. I’ve had a busy week as I just moved into my first house in London (I’ve rented here since 2012, but am finally a home-owner…) So I’m still surrounded by boxes, but I got so frustrated trying to set up my new electricity account (!) that I decided to write this Substack instead…

Today I am SO excited to have another interview, this time with the incredible Alison Barrow, who is renowned in the publishing industry as one of the most experienced and passionate book publicists around.

She is an multi-award-winning publishing publicist with over three decades of experience launching and sustaining writing careers. Amongst the authors she has worked with are Dan Brown, Bill Bryson, Bonnie Garmus and Tess Gerritsen. She has worked with Kate Atkinson, Paula Hawkins, Ruth Jones and Rachel Joyce for the entirety of their publishing careers. Alison has won 3 British Book Awards and has been twice named Booksellers Association Publicist of the Year.

So we’re very honoured to have her wise words today…

Hi Alison. Thank you so much for coming on The Honest Editor. To start with, please can you tell us a bit about your role as the PR Director at Transworld, an imprint of Penguin Random House?

Of course! My role is overseeing the publicity strategy for a wide range of fiction and non-fiction titles, working closely with authors, editors, agents, and media outlets to generate buzz and ensure that books reach their widest possible readership. I've tried to develop an intuitive sense of what makes a story resonate with readers, and for crafting campaigns that blend traditional media with digital innovation. The job involves everything from securing major media coverage and organising book tours, to guiding the tone and timing of promotional materials. Beyond the day-to-day logistics, I aim to play a strategic and creative role in helping to shape how books are positioned in the marketplace. I'm especially passionate about launching debut authors, and the real art comes in sustaining the visibility of established names.

What are the ingredients that make up a 'dream author' for PR purposes? What are you hoping for when you first meet with debut authors?

A “dream author” for me is someone who emerges with a story so clearly articulated it practically promotes itself (haha!)—and yet has a voice so individual and authentic it jumps off the page. When I first meet a debut author, I’m hoping they already get the hook—the compelling pitch that will capture attention. I want to feel their enthusiasm, see how their background or insight brings something fresh, and sense their readiness to build relationships—whether that’s through media, booksellers, readers, or online connections. If they bring all those ingredients—story, voice, hook, authenticity, and generosity—you’re giving the book the best possible launching pad. BUT! I do know that this is a tall ask! So my job is to work closely with the author to identify the hook, to surface the narrative outside of the pages, the 'story beyond the story', I suppose, which is then brought to the fire when talking about the book and their writing to a journalist, a presenter, through a written piece or in front of an event audience.

Wow. Writing that all down, it sounds a lot, doesn't it?! And I do recognise the dichotomy here. A writer works so often alone with their own thoughts and ideas and in isolation, and then here we are striding in as publicists and publishers saying 'OK, now tell the world about what you just wrote!’ I do get a real buzz, though, from talking this through, building a trust, and supporting authors all the way through from one book to the next.

You work with lots of established brand name authors at Transworld, as well as debuts - how does your work with them differ? If an author has been around for a long time, how do you find fresh PR angles?

Oh, that's such a great question. All of this is really making me think hard! When I begin with a first time author, everything starts from scratch—discovering their story, crafting a distinct pitch, and building their voice. I’m looking for that hook—what makes this book unique in a crowded market, how the writer feels about talking about their work. What they need support with. We can spend time distilling messages into a compelling one‑liner. I imagine what will resonate with readers, critics, and booksellers. This period is deeply collaborative, and I really love it. We can have some breakthrough moments and also meet some roadblocks. We work our way through them in person, on the phone, via emails and voice notes. If they need it I can support on media‑savvy storytelling, help them find their public voice, and encourage curiosity and generosity.

We’re laying every brick—from initial buzz, to early reviews, to establishing their own platform, whatever that looks like for them.

With writers I’ve represented for years—like Kate Atkinson, Ruth Jones, Rachel Joyce, Paula Hawkins, (and many others…) I’ve got a relationship built on trust and insight. I’ve learned how they work, what they care about, and how they prefer to engage. And how they prefer not to! But I would never presume anything. I always run by each author opportunities that perhaps they have turned down before. They might decide to do it this time... My role becomes one of renewal and reinvention. I look for fresh angles, thematic threads, anniversaries, event opportunities or biographical moments that align with their new book, and ways to reconnect with established fans while drawing in new audiences.

We might pivot into new formats—long‑form interviews, interesting collaborations and partnerships with other writers, scoping out broader literary events. With an established author, the challenge and the joy are to keep the storytelling surprising, vital, and evolving for both media and readers

How does your role fit into the publishing process, i.e. how do you work with marketing, editorial and sales?

Oh yes. We work hand in hand every day. It's one of the best things ever about my job I think, and gives me huge inspiration and energy. We all have our vital part to play of course, and I think for Publicity, it is about creating visibility and credibility. It's about translating editorial passion into public conversation, amplifying and enhancing marketing strategy and outreach with media and events coverage, and supporting sales by creating the kind of buzz that moves books off shelves. I guess you could call us the bridges between what a book is, how it’s sold, and how the world hears about it.

What should an author do themselves to maximise their chances of strong PR?

Great question and thank you for asking it. It's not straightforward. And it is demanding on the writer’s time. Publicity and PR can make a huge difference in a book’s success, but it is highly competitive and often limited by time, resources, and media interest. To maximise their chances of cut-through and success, any author should think beyond the book and approach PR as a partnership with their publisher. It's about building trust and an ongoing conversation.

I'd say if you can, to open to saying yes to all you are able to early on in a campaign - even before publication. Some of the most successful writers I work with will attest to my advocating the benefit of visiting bookshops, dropping off early copies, being willing to do podcasts, blogs, or local press - all these can snowball into bigger opportunities! Media and festivals often look at how much an author engages and how well they perform.

Not everyone can travel, I know. So think about shaping up a written piece about your book - something that speaks to the themes therein for potential placement. Not necessarily in The Times or Guardian (!) but anything which showcases this 'story outside of the story' whether fiction or non-fiction.

Again, IF you can... Attend industry events, festivals, and launches—not just for visibility, but to build real relationships. Authors who champion others often get championed in return. Or do this authentically online from your own laptop via the kindest social media - we're finding that connecting with bookstagrammers is effective and can be done from your own chair at home...

Meet deadlines, turn up on time, and be kind to journalists, bloggers, and event organisers. Word travels fast in PR circles—being gracious boosts your chances of repeat opportunities. I cannot overstate this. Being kind, open minded, generous spirited is the best.

Never say negative things about other writers, publishers, media or book champions in public. You might feel it (!) but unless you have the full picture - and let's face it none of us have - it serves nobody well.

Oh, and a reminder that PR is about earned media (coverage you don’t pay for), while marketing is about paid promotion. Know where your efforts are most valuable, and don’t expect your publicist to drive social ads, or bring in-person audiences to events (they can promote but not put people on seats).

This Substack is called The Honest Editor, and so I wanted to ask now some important questions about transparency, that I know readers will be wondering about. Firstly, we all know that not all books receive the same level of marketing and PR support. Can you talk a little about this, and what authors should take from it?

Publishers publish dozens, sometimes hundreds, of titles a year. Resources are finite, and while every book gets support, not every book gets a splashy campaign, national media coverage, or a festival tour. Here’s why—and what writers should take from it:

A book not getting a big long-tail push doesn’t mean it’s not loved by the publisher. Often, excellent books simply don’t have a strong PR hook, or they land at a crowded time. Some books build slowly. A debut might get modest coverage on release but gain traction through word-of-mouth, critical praise, or a second novel that shines a light back on the first. PR is not just about launch week. There are many other things I could say here, but it is layered and not always straightforward. I have worked on books we have taken a chance on, and they have soared. It is not always about the financial outlay, although of course that has to factor in. We are a business.

And do you believe PR can really turn the dial sales-wise? What kind of PR has the most impact?

Yes, book PR can absolutely turn the dial sales-wise—but with important caveats. It depends on the type of PR, the kind of book, the timing, and the breadth of a campaign. Publicity alone rarely guarantees commercial success, but the right kind of PR can significantly increase a book’s visibility, credibility, and cultural resonance—which often drives sales. I think it is about building credibility, visibility, and cultural momentum. It’s not always a straight line to sales—but when it clicks, it can dramatically lift a title’s trajectory.

Perhaps authors should think of PR as a door opener—what gets you in the room, on the list, into the conversation; and a publicist can certainly help facilitate this initial outreach.

From there, it’s the book itself—and word of mouth (and that is a WHOLE other thing – it doesn’t just HAPPEN! It is most often generated by a publisher/author initial outreach. You cannot MAKE word of mouth happen, you can but kick-start the process) and it is that which does the heavy lifting. However, PR isn’t paid media—you can’t control the outcome or guarantee the exposure. That’s why it’s most powerful when paired with marketing and retail support. It is never just one thing, it is multiple things over a period of time and a consistent message which picks up on reader reactions, to see what is landing well for them too… (and avoiding what is not working well!)

Do authors need to have large social media followings to be effective at reaching readers?

Well sometimes, and sometimes not. What matters far more is authentic engagement, consistency, and being visible in the right spaces for your audience. Readers respond to real, human voices—not just polished book promos. It is all about authenticity, and engagement. So for example a fantasy author might find readers on TikTok. A literary author might connect better on Instagram or X (formerly known as Twitter). Non-fiction writers may find traction via LinkedIn or Substack. If helpful, some topline thoughts from me.

• Be findable. Use your name or pen name consistently across platforms.

• Be yourself. Show personality—people follow people, not just products.

• Be useful or entertaining. Give readers a reason to care and connect. And when you can, connect back, open a conversation (I know! It is a LOT, but it is effective.)

• Engage more than you promote. Like, comment, support other writers, cheer others on.

What advice would you give to aspiring writers?

Well there is tonnes out there – but from a Publicity perspective and leaning into social media, if you are open to it, I would say that your best publicity tool is a great book. But being visible before publication helps build relationships with readers, writers, booksellers, and journalists, too. When the book is released, they have an anchor point to connect to. Start small: share your writing process, reading tastes, or author inspirations. Support others, celebrate their wins, share helpful resources. People notice generosity.

But also remember that not all visibility is online. If you’re a little nervous, or social media-averse, focus on local events or book clubs via your local bookseller. Attend festivals, writing groups, or reviewing other books in your space. Read everything! Read in your genre to understand its rhythms—but also outside of it to deepen your voice. Reading teaches you what craft books can’t (and every single successful writer with whom I work will attest to this!)

Also brace yourself. Rejection is part of the process, not a verdict on your talent. Every author you admire has a drawer full of “no thanks.”

What is the best thing and the hardest thing about your role?

HARDEST:

You can’t guarantee results. Publicity is earned media, not paid. It is all about effective communication behind a beautiful, brilliant book.

But no matter how brilliant a book is, you can’t force a journalist to cover it, or make it go viral (although ask a publicist, or marketer; we have been asked to do this a few times!).

You do everything you can—craft the well-timed, bespoke and impactful pitch, tailor it personally—and still we can often hear “Thanks, but not for us.” And as often (if not more so…) we hear NOTHING back from outreach. So we switch up the messaging, send out again, to different people with a different approach…

As publishers, we do believe in the books we publish and the reality is that sometimes the coverage and the events just don’t land. We feel it keenly, and it is tough – especially when we need to communicate that with a writer, agent, editor. There is also the resource and emotional industry around this outreach – managing expectations, communicating, advocating for books across a broad, busy publishing programme, and balancing the outreach with the meetings, strategy, internal conversations and creative discussions of the office.

There’s also emotional labour involved: managing expectations, advocating for books that might not be frontlist, and always balancing limited time across a long list of titles.

BEST:

Helping a book find its audience. You know this Phoebe! There’s nothing like seeing a story you’ve believed in and championed catch fire—whether it’s a debut novelist getting their first review major positive review, a room full of readers at a bookshop or festival event, or noticing a reader online singing its praises. Publicity is about connecting people with stories, and when it works, it is super special. It’s also an incredible privilege for me to support writers at pivotal moments: launches, interviews, awards.

You’re often one of the few people behind the scenes cheering them on at every stage. How magical is that?

We all want every author to feel seen and supported, even when the media spotlight is increasingly contracting, space in bookshops limited, opportunities for events competitive. But, you know, I would genuinely say that it is a privilege to be part of a book’s journey.

What a lovely note to end on. Thank you so much, Alison, for sharing your wonderful insights, and for all that you do to champion authors in the publishing industry.

I hope you enjoyed reading this interview - if you have any questions for us, feel free to pop them in the comments below, or reply directly to this newsletter. I so appreciate you all for subscribing and reading, and please help spread the word by sharing this with those you think might find it interesting.

Happy Sunday.

Phoebe x