How to Write a Press Release Editors Will Actually Read (and Share)

(And How to Avoid Describing a Book Like It Just Cured Global Loneliness)

Press release...

We’ve all seen them. Press releases in children’s publishing that read like North Korean state television. Every book is “heart-stopping”, “utterly unforgettable”, “a landmark event”, even if it’s a third sequel to a story about a bunny with a shopping addiction.

But does it work? Not always.

In an age of fake news, reader fatigue, and algorithmic indifference, it’s worth asking: how do you write a press release that feels real, grounded, and - dare I say it - human?

Let’s begin with what not to do…

The Bad: PR-speak Bingo

Here’s a quick checklist of terms that signal Propaganda, Not Prose:

"Snapped up" (used as if acquiring a book is akin to rescuing a child from a well)

"Pitched as…" (usually means "we’re not quite sure how to market it yet")

"Absolutely sucker-punch of a tale", "thrilling moment", "dove in without hesitation" (does anyone talk like this after a contract signing?)

"Electrifying phrases", "fearless debut", "LOL-worthy" (perhaps once original - now beige wallpaper)

"We’re delighted…" (always used; never questioned)

Example:

Albion Kid's Press has acquired three picture books from bestselling children’s author and illustrator Margo Channing… A new book from the inimitable Margo is always an event... this has one of the best endings I’ve ever read.

Let’s be clear: Margo (doesn't exist) is a brilliant author. But by saying every book is “an event,” the word loses meaning. It flattens this book’s unique shape into the same puffed-up silhouette as every other.

The Good: Let the Book Speak

A strong press release should make a reader want to know more, not feel like they’ve already sat through the BAFTAs.

Better Approaches:

Tell the origin story of the book - where, when, or how the idea struck.

Share one arresting line from the manuscript.

Offer a comparative phrase that's unexpected but accurate. (“This is Paddington meets Fleabag” has more flavour than “instant classic.”)

Highlight something specific the author wrestled with or revised - it makes them feel human.

Margo’s other release flirted with this nicely:

It began with a lost shoe, a grumpy bear, and a very long apology note.

That detail is vivid and personal - far more evocative than “inspirational tale of belonging.”

The Ugly: Freezer-Bag Phrases

In press releases, some phrases feel like they were pulled straight from a cryogenic chamber and defrosted for generic use:

"We are thrilled to publish…"

"Unforgettable cast of characters…"

"Will appeal to fans of…"

"A timeless tale for today’s reader."

These lines are freezer-bag safe - they won’t cause offence, but they won’t create desire either. They say nothing that hasn’t been said ten thousand times.

Raising from the dead!

If you describe reissued books as “bold new beginnings” when they’re actually 35-year-old formats with a new font and a royalty-free stock image… that’s not PR. That’s historical fiction.

Five Tips for an Honest, Effective Press Release

Ditch the “Delighted”

Instead, say why you’re pleased to publish it. Is it timely? Is it wildly different from your usual list? Say so.

Avoid Adjectives as a Crutch

If you must say “fearless,” explain what the author took a risk on. Was it tone? Form? Subject matter?

Include an Unexpected Detail

Readers love specifics: “She wrote the final chapter in a tent during a thunderstorm” will always win over “an unforgettable ending.”

Mention the Illustrator REALY IMPORTANT!

In picture books, the artist is not the decoration. They're half the storytelling engine if not more and because of the way data is collected and books can be catalogued by author - illustrators can at times seem to become footnotes..

Give Credit Where Credit is Due

If a book is part of a long legacy, say so. Readers respect heritage. It doesn’t weaken your brand; it enriches it.

A Modest Proposal for Reprints

If you're going to repackage older series:

Acknowledge the original: “Originally published in (Insert Title) by (Insert year), this classic series returns in a new format for a new generation.”

Don’t pretend a reboot is a birth. It’s a return. And that’s something to celebrate honestly - not obscure the origins, the readers, librarians and teachers will know that you are not a publisher to be trusted..

Final Thoughts

We live in a world now where everything is sold as essential, groundbreaking, transformative. But readers are savvy. So are journalists. And let’s be honest: so are authors.

If you want your press release to stand out in 2025, stop telling us it’s brilliant - show me why.

Five Brutally Useful Questions Before You Send a Press Release

Still tempted to call your latest book "a dazzling triumph"? Stop. Breathe. Ask yourself these questions first:

1. Who am I actually talking to? Is this for journalists? Bloggers? Readers? Booksellers? Pick one - and talk to them like a real human being, not a committee.

2. What’s the real news here? Not "we're thrilled to publish it" - what’s actually new, unusual, surprising, or meaningful about this book?

3. Why would anyone care - outside my own office? Be honest. Find the hook. If you can’t explain it to a stranger in a pub, it’s not clear enough.

4. What action do I want them to take? Read it? Feature it? Review it? Interview the author? Make it easy - and tempting - to do.

5. Could this headline survive without a single adjective? If not, go back and sharpen the facts. Real stories don’t need fairy dust to shine.

And remember: Journalists can smell “thrilled” at twenty paces. Give them a reason to come closer.

FOR IMMEDIATE RELEASE

Margo Channing’s New Picture Book The Label on My Foot Launches a Tender, Hilarious Adventure from Albion Kids Press

Bestselling author-illustrator Margo Channing, beloved creator of Young Bear, The Midnight Biscuit, and How to Mend a Broken Sledge, returns this autumn with a brand-new picture book that promises to steal hearts - and possibly nibble the furniture.

The Label on My Foot (Albion Kids Press, September 2025) follows a small, scruffy bear who notices the forgotten label stitched into his foot - and decides to set off on a wild and winding journey to find whoever made him. Along the way, he encounters suspicious squirrels, bureaucratic badgers, and a band of rather philosophical moths. Think Paddington meets Fleabag - if Fleabag were slightly less chaotic and twice as furry.

Margo Channing says,

I wanted to explore the idea of belonging, but with mud, mothballs, and the occasional custard disaster. Children are brilliant at asking where we come from - often at 7:00 am while you’re trying to make toast.

Albion Kids Press, the publisher behind the smash-hit Bat in a Hat and Frank and the Really Bad Idea, is proud to welcome Channing’s new bear to their list.

Publisher Dora Pym of Albion Kids Press comments:

Margo has an uncanny ability to make readers laugh and think at exactly the same time. The Label on My Foot is about finding your roots - and realising your story doesn’t end with a label.

Beautifully illustrated, full of sly humour and genuine warmth, The Label on My Foot is a celebration of curiosity, mischief, and the accidental family we make along the way.

The Label on My Foot publishes in hardback and eBook on 12 September 2025.

Rights enquiries: [insert contact email].

About Margo Channing

Margo Channing is the bestselling author and illustrator of over twenty children’s books, including Young Bear, The Midnight Biscuit, How to Mend a Broken Sledge, and Crisps for Breakfast. Her work has been translated into 18 languages and has won multiple awards for both illustration and storytelling. She lives with several sketchbooks and an unreasonable number of pencils.

About Albion Kids Press

Albion Kids Press publishes lively, thoughtful, and slightly rebellious books for young readers. Their list includes breakout titles such as Frank and the Really Bad Idea, Bat in a Hat, and The Slightly Overenthusiastic Hamster. They believe the best stories are the ones that make you feel a little bit braver.

Press Contact:

Emily Shaw Publicity Manager, Albion Kids Press Email: emily.shaw@albionkidspress.co.uk Phone: +44 (0)20 1234 5678

(non of the above is real and written as an example)

The world will always need books that comfort, confuse, and occasionally cause a minor riot in the imagination. Albion Kids Press was built to encourage all three."

– Georgina Orwell, Founding Spirit of Albion Kids Press

How to Spin Straw into Gold

(Or: Writing a Press Release for an Old Book Like It’s the Moon Landing)"

In publishing - as in politics - spin is an essential dark art. One of the most curious rituals is the press release for a 'new' publishing project that is, in reality, nothing more than the recycling of old material.Yet with enough breathless adjectives, heroic metaphors, and vague promises of "inspiration," almost anything can be made to sound like a once-in-a-generation cultural milestone. Even a slightly tweaked colouring book from 1998.In this exercise, we’ll explore how a standard corporate press release can inflate a very modest announcement (such as the reissue of decades-old titles) into something resembling the Moon Landing, the Fall of the Berlin Wall, and the Invention of Sliced Bread all rolled into one. Below is a satirical reimagining of a typical publishing announcement, demonstrating how clichés, overstatement, and cheerful disregard for reality combine to create maximum hype with minimal substance.

Decoding Publishing Corporate-Speak: What Those Press Releases Really Mean

In the world of publishing, language is everything. But when it comes to corporate announcements, the prose becomes... less than transparent. These carefully crafted statements sound upbeat, forward-looking, and united. But read between the lines, and you'll find a very different story, one of layoffs, imprint closures, budget cuts, and quiet retreats from creative risk.

Whether you're an author, editor, illustrator, or industry-watcher, here’s a glossary to help you decipher what publishers really mean when they say... well, anything.

Restructure

What it says: “We’re realigning the business to focus on our strategic strengths.”

What it means: Staff are being let go. Lists are being trimmed. Whole imprints may be disappearing quietly into the night. Midlist authors are quietly dropped. The office ficus plant is being sold.

Strategic Realignment

What it says: “We’re taking the business in a bold new direction.”

What it means: The bold new direction is usually downwards, sideways, or directly into Spotify.

No New Commissions

What it says: “We’re pausing acquisition activity to focus on delivering our existing programme.”

What it means: The imprint is functionally dormant or dead. You’ll be lucky to get an email reply, let alone a book deal.

Leadership Departure

What it says: “We thank [Name] for their inspirational leadership and wish them well in their next chapter.”

What it means: They were pushed, jumped, or saw the iceberg before everyone else.

New Logo / Brand Identity

What it says: “Our new visual identity reflects our commitment to innovation and creativity.”

What it means: We’ve changed the logo because we couldn’t afford to change anything else.

Embracing New Formats

What it says: “We’re excited to reach new audiences through audio and digital streaming.”

What it means: The print side is on life support, but at least Spotify doesn’t demand returns.

Editorial Focus

What it says: “We’re doubling down on our bestselling authors and key franchises.”

What it means: If you’re not a guaranteed hit, your manuscript is going nowhere fast.

Exciting New Venture

What it says: “[Departing editor] is launching a dynamic new indie house.”

What it means: They still believe in books and needed to escape with their dignity intact.

Wellbeing and Culture

What it says: “We’re investing in staff wellbeing as part of our long-term cultural reset.”

What it means: The survivors of the restructure have been given a yoga app login and a leftover branded mug.

Celebrating Our Team

What it says: “We’re proud of our exceptional team and everything they achieve.”

What it means: Especially the ones we didn’t sack.

In Summary...

For every upbeat press release, there’s often a quieter story- of creative friction, lost jobs, abandoned imprints, or the slow drift toward homogeneity. The publishing world is still filled with passionate, talented people. But many of them are quietly launching independent ventures, running freelance consultancies, or writing books in defiance of the very companies they once worked for.

If you want to know where the heart of publishing really is, look not at the logos but at the people who leave.

A New Era Begins! (Sort of.)

Splinter Books Unveils the Reditus Imprint

28th April 2025

2 min read (depending on your patience level)

Splinter Books is thrilled to announce the launch of Reditus, a bold and visionary new imprint set to revolutionise children's publishing - by reprinting decades-old books with marginally shinier covers.

As the newest addition to our vibrant and entirely original children's division, Reditus will offer non-fiction, hands-on learning, and art and activity titles for readers aged 3–12 laying the groundwork for a lifetime love of books that already existed elsewhere.

Reditus rises proudly from the extensive dust pile of Pioneer Editions, acquired by Splinter Books last year after several days of intense fiddling. Taking inspiration from this treasure trove of previously published material, Reditus will publish lovingly refreshed editions of old favourites before daring to dip a toe into something that might technically be considered 'new.'

Leading the imprint is publishing prodigy Brendan Smooth, who said:

It's such a privilege to republish other people's great ideas and call them our own next chapter. Reditus is about beginnings - the beginning of realising it's easier to rearrange existing chairs than build new ones. Plus, the logo is really cute.

Smooth continued,

We're hatching all kinds of excitement here: terrific old subjects, slightly updated fonts, and books so attractive they practically leap into a basket at a school book fair. It's a crackling list.

Samantha Glint, Managing Director of Children's Trade at Splinter Books, added:

We are utterly thrilled to be breathing life and new marketing language into a time-honoured backlist. Pioneer Editions, founded by the legendary Roderick Tattershall, was a bastion of humour, creativity, and had great snacks at trade fairs. We're committed to carrying on that proud tradition - with fewer snacks, but more PDFs."

The launch list will include:

Neural Giggles & Synaptic Snorts: Jokes for the Slightly Bewildered

Blurb:

Warning: may cause chuckling in inappropriate places (dentist waiting rooms, funerals, Zoom calls with your teacher). Neural Giggles & Synaptic Snorts is the joke book for people who find cracker gags too daring but suspect The New Yorker cartoons are mocking them personally. Packed with gags that go nowhere, puns that barely work, and punchlines that trail off into existential doubt, this is comedy for those who laugh gently, inwardly, and sometimes by mistake.

Includes:

• Jokes about potatoes (ethical and otherwise)

• A seven-part riddle that ends with “Oh never mind”

• Humour calibrated to the average British thermostat setting (tepid)

  
  

When All Else Fails: Survival Crafts for the Digitally Forsaken

Blurb:

The Wi-Fi is down. The phone is dead. The power’s gone. But you? You’ve got a toilet roll, four lollipop sticks, and this book.When All Else Fails is your companion for those desperate moments when all that remains is craft - the gentle, slightly pointless kind.

Learn how to:

• Build a spoon rack out of ennui

• Knit a mildly accusatory hat

• Create post-apocalyptic bunting from receipts and regrets

• 
  

Recommended for ages 9 - 99 and anyone trapped in a cottage with relatives, power cuts, or existential dread.

A Beginner’s Guide to Drawing Mammals That Refuse to Pose

Blurb:

Have you ever tried sketching a shrew mid-sprint? Or coaxing a fox into holding still while you find your 2B pencil? No? Then you're already more qualified than most readers of A Beginner’s Guide to Drawing Mammals That Refuse to Pose.

This essential (if largely ineffective) handbook guides you through the noble art of drawing creatures that couldn’t care less.

Inside you’ll find:

• Helpful diagrams like “Badger or Small Rock?”

• Speed-sketching tips for when the hedgehog bolts

• A glossary of animal expressions (including “mild disdain” and “drawing you back”)

Perfect for sketchbook warriors, amateur naturalists, and anyone who’s ever whispered “please just sit still” at a rabbit.

Expect Reditus' first titles to shuffle onto shelves in January 2026 - refreshed, repackaged, and resolutely risk-free.

Ah, the press release. That grand exercise in corporate spin where information is neatly packaged, meticulously presented, and occasionally wrapped in a ribbon of vague promises. We’ve all seen them. The ones that read like something straight out of North Korean state television — where every book is “heart-stopping,” “utterly unforgettable,” and “a landmark event,” even if it’s just the third installment of Bunny With a Shopping Addiction.

Now, of course, a good press release is meant to excite and inform, but when it starts blending enthusiasm with a touch of smoke and mirrors, that’s when things get interesting. In the case of my experience with Hatch Press, this particular piece of corporate wizardry took what was a forty-year legacy of creative work and neatly folded it into a ‘new’ imprint under the direction of Kieran Hood, with nary a mention of my contribution - except as a historical footnote.

Here’s the thing: Press releases like this aren’t just about celebrating new beginnings or ‘fresh starts.’ They’re often about reframing and repackaging what already exists, using buzzwords and buzzphrases to make the old seem new and the past seem irrelevant. While I fully appreciate a well-curated marketing pitch, what I didn’t appreciate was how, buried within the upbeat language and corporate jargon, was the subtle erasure of everything I had spent years building.

When you read a press release that talks about “continuing a legacy” or “breathing new life” into a brand, what’s often not said is that this is a delicate art of creative rearrangement. In my case, the press release carefully avoided any mention of the creator who birthed that legacy. Instead, it leaned heavily on the corporate line that Hatch Press was a fresh initiative, ignoring that its roots were deeply planted in the work I had already done.

So, as we dive into analyzing the art of crafting a press release that sounds real but still manages to hide a few truths, let’s remember: It’s not just about what’s being said, but what’s being carefully left unsaid. And for me, what was left unsaid is forty years of work quietly erased under the guise of “rebranding.”

Now, let’s dissect how this works — because, as we’ll see, a well-constructed press release might just be the art of hiding the truth in plain sight.

As I read through the press release, a wave of frustration washes over me. On the surface, it’s crafted to sound like a celebratory announcement about the launch of Hatch Press. But when I read between the lines, it's clear that it’s more about erasing the true origins of the imprint and presenting it as something completely new, born from the corporate machinery of Bonnier.

The Headline:

“Hatch Press takes flight with Bonnier Books UK”

• To me, this line feels like an attempt to create a fresh narrative around Hatch Press. “Taking flight” implies something new, fresh, and exciting. What it doesn’t say is that this "flight" is actually the culmination of years of work that I put in, and my imprint’s legacy has been repackaged and presented as something that’s purely Bonnier’s.

The First Paragraph:

“The newest imprint within the company’s thriving children’s division, Hatch Press will publish non-fiction, hands-on learning, and art and activity titles for fledgling readers between 3-12 years old – laying the foundations for a lifetime love of books.”

• This part feels like Bonnier is claiming ownership of Hatch’s future, positioning it as part of their existing “thriving” children’s division. What bothers me here is that it almost erases the fact that I built the foundation — a foundation rooted in humor, educational content, and engaging design. The focus here is on how it fits within their corporate structure, without acknowledging that Hatch Press was already a strong, creative entity under my direction before Bonnier ever acquired it.

The Second Paragraph:

“Hatch Press is born from the extensive backlist of Salariya, acquired by Bonnier Books UK last year. Taking inspiration from its treasure trove of titles, Hatch will publish refreshed editions of Salariya’s backlist before embarking on an exciting new frontlist of books that builds on the established bestsellers and introduces fresh IP to engage and enrich the next generation of young readers.”

• The phrase “born from the extensive backlist of Salariya” is particularly irksome. While it acknowledges Salariya, it frames it as if the imprint now belongs entirely to Bonnier. They talk about “refreshing” and “new IP”, which makes it sound like their effort is about rejuvenating a product line that was somehow stagnant, when the truth is that the heart of Hatch was my vision and creative direction. The way it’s worded makes it seem like they’re the ones breathing new life into an otherwise neglected entity.

The Third Paragraph:

“Led by Kieran Hood, the imprint aims to publish around 30 books a year, with the first titles flying onto shelves in January 2024.”

• The focus here is on Kieran Hood as the “leader” of Hatch Press, which is another way of positioning Bonnier as the driving force behind Hatch’s direction. It completely sidesteps the fact that I built this imprint with a strong creative vision and strategy. It feels like they’re elevating Kieran as the real face of Hatch Press, with no acknowledgment of my role in creating this imprint or guiding its success.

Kieran Hood’s Quote:

“I cannot wait to see the first books from Hatch Press in the shops next year... Hatch is called Hatch because it’s the start of an idea and the beginning of something great, be it igniting a creative interest, or a subject in school that was previously dismissed.”

• While this sounds like an inspiring statement, it also strikes me as an attempt to claim ownership of an idea that was already in full motion. The phrase “the start of an idea” makes it sound like the imprint is starting from scratch, but in reality, it was already established. What’s missing here is the acknowledgment of my role in planting the seeds for Hatch Press. It’s as if the project is now being rebranded and framed as something entirely new, rather than an evolution of what was already a successful initiative.

Helen Wicks’ Quote:

“We are delighted to have been given this opportunity to breathe new life into a redoubtable independent imprint... At Bonnier Books UK, we are committed to continuing this legacy.”

• To me, this sounds like a convenient corporate narrative. “Breathe new life” is a phrase that seems designed to make it appear as if Hatch Press was on life support and needed Bonnier to rescue it. They claim to be continuing my legacy, but the way it's worded makes it feel like they’ve taken the reins and are simply using my legacy as a backdrop for their corporate ambitions, rather than acknowledging the work that went into creating the foundation Hatch Press was built on.

An Honest Alternative Vision of the Hatch Press Press Release

Let’s peel back the glossy layer of this press release and see what it’s really telling us.

On the surface, the announcement of Hatch Press launching under Bonnier Books UK is framed as a fresh new start, an exciting venture into children’s books led by a "new imprint" and a vision of accessible, educational content. The press release is full of big words about creativity, inspiration, and building foundations for a lifelong love of books. All sounds lovely, doesn’t it?

But underneath the glittering phrases lies something else entirely. The truth is, Hatch Press isn’t just an exciting “new” imprint — it’s Hatch, repackaged and rebranded after being acquired from the Salariya backlist. What’s being touted as a new chapter for creativity is, in reality, an effort to profit off the legacy of a successful, independent company — one that I spent decades building with blood, sweat, and an unhealthy obsession with detail. The corporate language is designed to make you forget that the “new” imprint is born from my work, my creative vision, and my ability to spot what young readers want long before anyone else.

In this new reality, the company hasn’t really created anything new — they’ve simply swept away the name and replaced it with something that looks a little shinier, a little more corporate, and, well, a little more “marketable.” They’ve taken the robust backlist of titles that were once alive with my touch and are now “refreshing” them — adding fonts, rebranding covers, and calling it the start of something "great."

But the real work, the true craftsmanship behind the backlist, is left in the margins, ignored in favor of corporate lingo that makes everything sound like a fresh, innovative idea. It’s as if the history of these books, the way they were created, and the impact they’ve had on countless young minds, is somehow a side note. Not to mention, this "fresh start" comes with a little creative sleight of hand. Where the past is acknowledged, it's in the form of a quick mention — “acquired by Bonnier last year” — but the focus is placed firmly on Kieran Hood as the new “leader” of this “new venture,” making it seem like the creative direction is all his, and that the real work had nothing to do with the foundation laid before him.

This isn’t Hatch as a bright new beginning — it’s Hatch with a different face, one carefully crafted to fit into the corporate structure of a bigger entity. This is what happens when a company swoops in and acquires what’s been built with passion and vision, only to homogenize it into something that fits their business model, their profitability targets, and their shiny new imprint lineup.

And so, while the release talks about “continuing the legacy” and “breathing new life” into something that was already thriving, it’s really about consolidating power, erasing names, and rebranding a well-worn path as something new. It’s corporate jargon designed to disguise the uncomfortable truth — that in the world of publishing, the creator’s role can be brushed aside as easily as a dusty cover. The books may still exist, but the person behind them, the creator whose years of work made them a success, is no longer part of the conversation.

Final Thoughts:

What this press release is really saying, without directly acknowledging it, is that Bonnier is repackaging my work under their brand, erasing my contributions, and rebranding it as a fresh new initiative. They’ve inserted their own leadership and direction into a projects I created, and designed while there are polite nods to my legacy, it’s clear that the spotlight is now on their corporate vision, not mine.

It’s frustrating to see my work distilled into corporate jargon, where my name is reduced to a mere mention. This press release is an attempt to erase the past, and while they may have acquired my backlist, they can never truly own the creativity, vision, and passion that went into building it. But the truth of that legacy is still mine, even if it’s not being celebrated as it should be.

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David Salariya has written, illustrated, designed and published books that have sold in the millions - and has spent decades trying to get editors, reviewers and journalists to care. As founder of The Salariya Book Company, he’s seen every kind of press release: the good, the bad, and the instantly deleted. More at davidsalariya.com.