From in-house to agency, PR by the Book’s team reflects on 165 years of experience and how book publicity, success metrics, and author collaboration have evolved.

At PR by the Book, our publicity team brings more than 165 years of combined experience to the table—including many who began their careers working in-house at traditional publishing houses. We thought it would be fun, and insightful, to compare notes on how the world of book publicity has evolved. From shifting media landscapes to new tools, creative strategies, and closer collaboration with authors, each of our publicists shares what they’ve learned about promoting books within a publisher versus working independently with authors and brands today.

Having worked in-house at a traditional publisher and now at a PR agency, what’s the biggest shift you’ve noticed in how success is defined for an author or campaign?

When I worked in-house, success was defined by measurable outcomes—sales numbers, preorders, media hits, or coverage within a very specific launch window. Campaigns were tied to a seasonal list, so once a book’s window closed, attention quickly shifted to the next list of titles. It was exciting and fast-paced, but it often meant success was judged by short-term metrics rather than the lasting impact of a book.

Now, at a PR agency, success feels broader and more personal. We get to think strategically about the author’s entire career, not only a single release. Success can look like helping an author build their platform, connecting them with the right audiences, or setting the stage for opportunities that may unfold months—or even years—later. It’s more about momentum and long-term visibility than immediate numbers. —Jana

The press where I worked for two decades was a long-tail type of house–we rarely focused only on the frontlist and then on to the next, and we kept our titles in print forever. Success for us was selling enough books overall to remain in business and keep us acquiring more good books. We didn’t pursue media for media’s sake; we wanted media results that drove book sales or raised awareness of our brands/imprints. At an agency, a client with other types of goals—say, to become a television personality or a professional speaker—can be more easily catered to, because we don’t have to focus solely on selling books. —Jill

How do you approach developing creative media angles or hooks differently now that you’re not tied to a publisher’s seasonal catalog or list?

The biggest shift is immediacy. In-house, you pitch books that were acquired 18 months earlier. By the time you’re working on the book, the cultural conversation has often moved on from whatever made that book feel urgent. Now I can respond to what’s happening in real time. If there’s a breaking news story, a viral moment, or a cultural shift that connects to my work, I can speak to it immediately—not nine months from now when a book would finally be published. That immediacy completely changes how I think about hooks. I can test angles, see what resonates, iterate, and build momentum organically rather than trying to force a moment that’s been scheduled on a catalog for over a year. —Jana

We simply have more time and flexibility. While there will always be seasonal aspects to a campaign, we can be more nimble and more strategic, quickly bridging cultural conversations or news events to the campaign we’re working on. That speed is a huge advantage. —Tara

How does the one-on-one relationship with an author differ at an agency compared to managing multiple titles on a publisher’s list?

In-house, I juggled dozens of titles at once, each with its own timeline, sales goals, and internal expectations. Even with the best intentions, the author–publicist relationship was shaped by those constraints—limited time, tight windows, and the reality that once the season shifted, my attention had to shift with it.

At an agency, the relationship can be more collaborative and individualized. Instead of being one project among many on a seasonal list, the author becomes the center of the strategy. I get to understand their voice, long-term goals, comfort level with the media, strengths, and even what motivates them. It’s less about managing a title and more about partnering with a person—helping them grow not just a book launch, but a platform, a brand, and a sustainable presence in the world. —Jana

Having seen both sides, what’s the biggest misconception authors have about what a publisher’s publicity team actually does?

Many authors don’t realize that unless they are on a publisher’s “A” list, their share of promotional resources is limited. Not because publishers don’t care, but because budgets and staff have to spread over dozens of books. This is where working with an outside publicist can make a difference–providing focus, time, and strategy that an emerging author needs. —Kim

The biggest misconceptions don’t vary between in-house and agency. There is often confusion between the roles of marketing, sales, and publicity. All too often, authors think marketing and PR are one and the same, so every relationship begins with clarifying responsibilities. That’s true in-house and at an agency. —Tara

How has the rise of digital platforms, podcasts, and influencer marketing changed the way you think about book publicity strategy?

The vehicles change over time–radio, newspaper book sections, blogs, podcasts, influencers—but the goal hasn’t. Where are your readers consuming content? That’s where your book needs to be. The platforms may evolve, but the strategy remains the same. —Jill

You’ve worked with authors and media for years—what’s one traditional publicity practice that still works beautifully, and one you think we’ve outgrown?

We’ve outgrown mailing unsolicited book copies. Since remote work was the norm during Covid, PDFs and an offer of a finished copy are more effective and more respectful of journalists’ workflows.

What hasn’t changed? Staying on top of the news cycle. The strongest pitches still connect with what people are talking about at the moment. Ride the waves when you can. —Wes

What excites you most about working with authors independently now, and how does that creative freedom impact your campaigns?

After two and a half decades running a publisher’s PR department, I’m basking in being “back in the trenches” with authors and the media. The landscape is more dynamic than ever, and I get to experience those nuances firsthand. One thing that hasn’t changed? Authors often arrive with delightfully ambitious expectations! 
—Kim

Curious how an agency-led approach could support your book or author brand? Get in touch with PR by the Book and start the conversation.

For more information about working with a book publicist, check out these blog posts!

• The Pros and Cons of Hiring a Book Publicist
• When to Outsource Book Publicity
• 22 Things a Successful Book Publicist Does in a Day