Successfully Talking to the Press About Your Art: Plot It, Don’t Pants It!

by Gideon P. Smith

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Thirty years ago, I was first interviewed about my research. Five minutes after it ended, I had no idea what I had said. When I read the resulting article, my heart sank. The science and implications were wrong, I was misquoted, and I was described as a “ball of random energy.”

While talking fiction to journalists differs from talking science, considerable overlap remains. Press interviews—whether for your hometown paper or The New York Times—are opportunities to reach new audiences. Yet many writers experience trepidation about these opportunities and feel unprepared.

The good news? With just a little work, these opportunities can go from anxiety-provoking disasters to productive, stress-free, even enjoyable, experiences.

Understanding the Journalist’s Perspective

First, remember, this is not investigative journalism. The reporter is not an adversary. They invited you because they want to partner with you in informing their audience about your work.

However, they likely haven’t read your book, even if they requested a copy. This is true even with genre-specific interviewers. Do not take this personally. They are busy, and this is just one piece. However, they usually care deeply about their piece and its “story.” That means: What’s the hook? What’s the human interest angle? And this is the good news. Because as a writer, you understand stories—making you ideally positioned to help. 

Preparing Your Agenda and Structuring It for Maximum Impact

Their questions will likely be very generic if they haven’t read your work, which results in uninteresting copy. There are two ways to combat this:

  • Create a playbook of answers to generic questions. These answers should be concise but add something unique about your work. You can predict generic questions by considering what anyone who hadn’t read something might ask. (e.g. “What is the book about?” “What was your inspiration?”) or by reviewing prior interviews. 
  • However, the better way to help them create a strong story is to suggest questions. This may sound counterintuitive given they are the interviewer, but you are the expert—on yourself, your work, and your story. You know what makes your book unique, whether it’s an unusual magic system, scientific influence, or personal connection. Most journalists will appreciate your taking a proactive approach if you highlight what’s unique or provide interesting angles. It makes their job easier.

Your playbook should help readers quickly identify your book’s genre and subgenre, then draw them in with an intriguing hook. Make it personal—within your comfort zone—so readers connect with you and your work. Finally, ensure the interview ends with clear information on where to find you and your work (social media, website, book links).

Taking Control of the Interview Process for Written Articles

  • Before agreeing, ask to approve the final product before publication. I’ve never had a real journalist refuse. This avoids unpleasant surprises, misquotes, or context errors.
  • Ask for their questions in advance. This allows you to prepare thoughtful responses and ensure key messages are included. If they don’t have questions, share what you think is interesting from your playbook.
  • Send them written responses. This saves the journalist from transcribing a recording, which they usually appreciate, and ensures more accurate wording.
  • Provide a clear hook. For fiction: a one-liner pitch, what the genre is, target age group, and audience appeal—similar to an agent query letter.
  • Send materials at least 24 hours in advance. Otherwise, they won’t have time to read them.
  • The live interview is then used for clarifying questions. These are often personal context questions to add a human side to the article. Since the core questions have already been addressed, this makes for a relaxed, low-stress conversation rather than an anxiety-inducing experience.

Prerecorded Interviews: Podcasts, YouTube

Many of the same principles apply, but delivery is key. Since you can’t rely on written responses:

  • Practice. Avoid reading from a script, as it sounds robotic.
  • Record yourself. This helps check for distracting habits, like fidgeting. Look at the camera so the audience feels like you are talking to them. This also allows you to check your audio or video.
  • Clarify the editing process. Some interviews are unedited. Ask beforehand; if the interview is edited, you may have the chance to redo an inadequate response. However, don’t overuse this—it’s okay to be imperfect!
  • Make it engaging. If possible, prepare a personal anecdote to add warmth and relatability. Let the interviewer know about it in advance so they can prompt you.

Live Interviews (Radio, TV, or Live Streams)

Live interviews add an element of unpredictability, but you can still prepare:

  • Stay on message. Since there are no do-overs, practice pivoting back to your book when off-topic questions arise.
  • Control the tempo. Time is limited. Prepared answers will help avoid rambling.
  • Expect technical issues. Especially with live streams, ensure your internet is stable and background distractions (kids, pets) are minimized.

When Things Go Wrong

Even with preparation, interviews don’t always go as planned. If an interviewer gets confused, misremembers details, or goes off script, don’t panic. Smile!

  • Clarify confusing questions. If a question is unclear, ask for clarification or reframe it in your own words.
  • Gently steer the conversation. If an unrelated question arises, use a two-part Big Picture/Zoom In response to briefly acknowledge it, then pivot back to your book. This way, you get across what you need, and don’t have to scramble for answers as much on the spot.
  • If a question feels off. Always remember, though it’s very rare, if uncomfortable, it’s okay to say, “I’d rather focus on the book. What excites me most is…” and shift gears.

Post-Interview Follow-Up

Follow up with a quick thank-you email. If you were promised a chance to review your quotes or a video edit, politely remind them. If they publish a great piece, share it widely—it encourages future coverage.

If the piece has mistakes, be professional in requesting corrections. Most journalists appreciate the chance to fix factual errors, but also remember you are not their editor, so stylistic choices (e.g., word emphasis or choice) are up to them.

Keep Practicing and Improving

Finally, know that this takes practice. Your first interviews won’t be perfect—but that’s okay! Just like writing, you get better with experience. Give yourself permission to learn as you go.

With preparation and practice, you can turn press interviews into opportunities rather than anxieties. Instead of dreading your next journalist encounter, you might look forward to it!

Gideon P. Smith author photoGideon P. Smith, is a scientist and writer of speculative fiction and writing craft. Gideon has written for The SFWA Blog, BSFA Focus Magazine, Apparition Lit, Wyldblood Magazine, Troopers Quarterly, anthologies from Black Hare Press, Shacklebound Books, and Fairfield Scribes, and is a first reader for the speculative magazines Diabolical Plots and Flash Fiction Online.

As a scientist, Gideon has been interviewed by everyone from local to national and international newspapers (e.g. Hindustan Times), to TV news stations in the UK (BBC), USA (NBC, Fox), and New Zealand, and magazines from trade and professional magazines to popular commercial publications. For more information, visit www.gideonpsmith.com or follow Gideon on X at @gideonpsmith.