How to Promote Your Book
A guide on promotion, reviews, community, and outreach.
I will begin this exercise by stating: every opinion herein is a result of my knowledge and experience in: literary criticism, book promotion, audience generation, and digital marketing. I have not personally published a manuscript yet and therefore do not know the trials and tribulations that await me. I do not offer this as comprehensive, nor as gospel; rather, I position this as something of a resource collection specifically geared toward poets who want to learn how to expand their reach if their press is not promoting their work to the proliferation said author yearns for. This is not to blame small presses, either. Oftentimes the skills of digital marketing are not particularly found within the realm of poetry books, but I do think they can be helpful.
The Purpose of a Pitch
Pitching your work, many will tell you, is something of an art form. I don’t believe this for a second with regard to its application for literary publication, as largely that motto seems to be co-opted from shitty men in suits with MBAs. All that your pitch, author, needs to be is a representative statement that can help trigger your inherent charismatic authority (to use a phrase from Lauren Berlant). Oftentimes, your pitch is being shared alongside a biography of you or in-person at a conference or workshop, where the environmental discipline required for literary buy-in is already set. In these instances, you want to craft something of a few sentences which can help trigger yourself into speaking enthusiastically and charmingly about what you are offering.
From my personal example, I have a manuscript I’ve been working on for close to a decade now that a surprisingly large amount of people, some I know and some I do not, will ask me about. It is a collection of poems about bears. If, in my current moment, I were to try to pitch the bear book to someone, I would offer something like, “Biologists recently discovered black bears to return over-and-over to hills amidst their territories in order to watch the stars on cloudless evenings. Of course they deserve a poetry.”
This is to say — concise. Note: above, I am not trying to elaborate on every ounce of thought, emotive perspiration, or bit of research I’ve learned to convey my expertise; rather, my aim here is to delight in a sentence that will then free me and my authorial self from the chains of bashfulness, insecurity, or unconfidence. Your greatest tool as an author in interpersonal relations online or physically is the enthusiasm which realized your writing in the first place. This is not to say you are selling yourself as an author, and not to impose that all others need to be charming and charismatic. Instead, think of this as selling the very same idea you sold to yourself when you first began writing (this project; generally) — that belief that you had something to say, you had some mechanism instilled in your digits compelling your pen to move, or the urgency in subject.
What Sets Your Book Apart?
I find this to be a bit of a red-herring of a question. As a prolific reader and critic, I have never read two poetry books that are so similar that I wrinkle my nose and turn their spine away from me. As a personal example, most recently I have quite literally read two editions of the same text translated by the same person — “Midnight Minutes,” by Víctor Rodríguez Núñez and tr. by Katherine M. Hedeen — and while there was certainly nuance between the projects in length, there were almost exact copies of poems from one to the next.
But, you may also consider this question less in the form of a literary distinction and more in the form of media consumption. Sitcoms are all effectively the same. Yet we watch them. I have rewatched the Lord of the Rings trilogy several dozen times at this point.
This is not to say that it isn’t important to have nuance, but that I think many put down the idea of familiarity and comfort more than necessary. So I would offer to reframe the question from “What sets your book apart (from the rest)?” to “What sets your book apart (in community)?” This is to say - collected ideations in the framework of if you like <author/book/music/film> you might like <work being pitched>; or my book is likened to works by <author, author, author> or <work, work, work>.
If you struggle with the perhaps audacity to include your work in conversations of others’ work, ask! Ask your readers, ask your friends, ask your agent or editors what books or authors they’re reminded of or are thinking about in conversation with your work. That way you can socialize more confidently with the outsourced community of what works are alongside your own, without the pestering fear of offense toward other works.
Who to Pitch?
Or perhaps the better question: who not to pitch? At the end of the day, the boundaries of your pitch-ing-ness are really determined on the scope of your energy and your confidence in where you think your work might find readers.
I speak mostly to poets, and so therefore this is speaking toward poetry books. Think of audience scope as a pyramid.
At the bottom of the pyramid is the great mass of people who’ve ever had a thought. Then, above that, are the individuals who actively think about the works they consume - whether these are prolific blog readers, Youtube video essay connoisseurs, striving for the latest and greatest music, watchers-of-cinema, or keeping up with the latest acclaimed television. Above this tier are individuals who actually read books on any given year — not even necessarily poetry, and perhaps not every day of every week of every month — but individuals who might set a reading goal of 10-15 books read each year, and usually hit these goals. Above them are individuals who are, let’s say, more prolific readers — these people might peruse indie bestseller lists at bookstores, they might actively use their libraries or frequent indie bookstores, they might ask for recommendations or pick up books from staff recommended bookshelves — and they might finish some 40-60 books a year. The next tier are people who actually read poetry - perhaps not with a dedicated volume, but people who will scan poetry shelves in bookstores, who might have favorite poets who are or have been alive in the last 40 years. And the last tier I really care to segment into are the literature people — you know, they probably have master’s or doctorate degrees in literature in some way shape or form (this isn’t to gatekeep by means of academia but rather to acknowledge that there are folks who read hundreds of books a year and I’d consider just as part of this tier); they’re constantly reading; if they don’t read poetry constantly, they have opinions of active literature generation and contemporary poetry.
Confidently, I think everyone above the bottom-most tier of that pyramid of artistic consumption can be accessible in some way depending on the pitch you give them and the means you have of accessing that audience.
But is your goal to make a poetry-reader of someone who mostly watches 4 hour youtube videos of deep-lore explanations of the Dark Souls video game franchise? Seems ambitious. Not impossible, but of a high-demand on your energy. Is your goal to find people who might already be rifling their hands across the spines of an indie bookstore’s poetry bookshelf to actually pick up your work and purchase it? That’s just a matter of some amount of noise or environmental context that queues in the future-reader to thinking of your poetry as necessity.
Word of Mouth!
I cannot stress enough how vital word of mouth is to the proliferation of readers through a community can be. Not to think of friendship as network as marketing but rather to acknowledge the power of like one strong ally in any given city where you don’t necessarily live can have broader implications toward getting your book on the shelves of a store; enabling their fans and supporters to find your work; and getting invites to events that you wouldn’t necessarily know otherwise.
Word of mouth comes in many forms. I can say confidently now from my experience that events organizers do carry with them a certain thumbprint on culture that attracts attention. Booksellers, too. But this can also be found in particularly popular Baristas or bartenders, people who are engaging with others frequently and often.
But the key note on word of mouth is less going up to various individuals who you perceive to be important or worthwhile and more making meaningful connections, seeing people as whole people, and proliferating community. Fortunately or not, there isn’t really a game to win when it comes to poetry: you and your words build community, and community will support you. This cannot be viewed transactionally or as demanding of equivalent exchange, but rather as a life’s work.
So this section is mostly to say: if you frequent places often, are considered regulars at locations, or even just recognize folks from being in similar locales frequently enough, it never particularly hurts to try the simple act of “Hi, I’m <person>, if you’re not in the space for socializing I’ll happily step aside, but I notice you in <place> often enough and wanted to introduce myself.”
Reviews: Amazon, Goodreads, Storygraph
This here’s my biggest point of contention. I have never once used a goodreads review or amazon review to influence purchasing a work. Frankly, if something has no goodreads reviews and minimal ratings I find it more attractive - similarly to Amazon. I know these places do influence people, and that especially with things like Amazon bestseller lists, Goodreads giveaways, etc. they can help to bridge the gap between niche and mainstream audiences as a book’s sales push from the like 300-500 range to the 1000+ sales range. But largely I associate these platforms as influencing prose offerings — nonfiction connoisseurs looking for a hyper-specific niche, or fiction readers looking for something more specifically aligned for what they’re feeling.
I still don’t think they hurt, but here is where I will stress the odd point: whereas the previous portions of this piece have dictated about the value of connections and personal community, places like Amazon reviews, Goodreads reviews, and Storygraph reviews are written and produced for algorithmic content pushing and to have your work find new audience independent from your personal outreach. I know this feels icky to consider, and I know this is not a holistic statement (of course there are real people using these apps and real people with real readerly habits), yet the reason why Amazon and Goodreads have proliferated so heavily through industries is because of their enforcement of algorithmic content and media suggestions, not because they are so invested in literature that they want you to be the best darn reader you can be.
What do you do with this information? I would recommend putting together a small blurb-ish listing of key phrases, authors your work is in conversation with, and ways to describe your work. I’ll include an example kit below. You can use this to send to friends or close supporters who want to help you more but don’t quite have the network to personally organize events for you, even family members if you’re in one of those fascinating families where your kin actually sees you as a writer and wishes to support you. Make it as simple as possible: give them the links to write the review, give them the language to use. Having a handful of folks write reviews on different platforms makes it so that the platforms are more likely to taxonomize your work within proper categories and push it to new readers who you don’t know as well.
I must also stress: make a habit of once a month checking to see if you have a new review or anything of your work on any of these platforms. Amazon probably not the best place for this; however, if you see someone who you don’t know who took the time to review your work positively and looks like they have something of a profile, send them a message! I’ve had many-a-conversation with individuals across the world because they reached out to me on goodreads, and I still reference those connections in my personal canon. You never know where a conversation with a fan may lead you.
Example Kit:
<Link to Storygraph book listing> <Link to Goodreads book listing> <Link to Amazon book listing>
Key phrases to use: Ecopoetics, Queer poetry, Contemporary Feminist poetry, Environmental poetry, American poems, queer literature
Example sentence:
“In <author’s name> <book title> they craft a delicious work straddling queer poetry and environmental poetry. I loved this book of american poems.”
“Contemporary feminist poetry has such a rennaissance right now with authors like <author> <author> <author> and now <your name here> contributes to the conversation with their work of queer literature, <book title>.”
Book Reviews, Interviews, and New and Noteworthy Lists
Because this is writing for the effect of supporting and promoting your work, I won’t get into my nitty gritty on the nuance of criticism and the value of people thinking about literature. Instead, I will just say, getting someone to write about your work, to converse with you and document this, or to include your work in lists and recommendations is among the best way to get your work noticed by the most-likely-to-buy audience.
People who are actively reading criticism or actively looking for lists have an immense overlap with people actively looking to buy work, or at least take it out from the library (which is also a form of buying!).
That said, here is my pull-back-the-veil of criticism. If you’re looking for your work to be discussed in magazines, reaching out to individual book reviewers is less of an effective tactic as reaching out to criticism / reviews editors at magazines. In my experience, pitching a book review of a random work has about a 10% acceptance rate in magazines whereas once I’ve become something of a repeat contributor to these magazines, I receive lists of potential books to review from said magazines that will be published if I write on them.
Interviews are a different story, as I find those tend to be rarer forms of content both to be published and pitched. If you’re willing to engage in a conversation or interview about your work, I think it’s absolutely worthwhile to reach out to interviewers you’ve seen publish previously and ask if they’d be interested in reading your work and engaging with you in an interview.
Lists I would recommend going back to the contributing writers who author said lists and inquire about availability, next round-ups, and offering your work to them.
Things I acknowledge but don’t know much about: some awards, some presses, and some institutions want you to have a certain amount of critical publication alongside your release or to be considered for some type of prize. Don’t discredit yourself by not doing the diligence of putting your work out there! You are important, you wrote a book, that’s great! People will want to think with your work; otherwise it would not have been selected for publication.
And to acknowledge timelines, most magazines I know of have a range of contemporariness that they will accept for publication. Some only accept promotions of work published in the last six months, the vast majority in my experience tend to have a cut-off of two years post-publication, and in rare cases you have magazines doing highlights of works from 5-10+ years ago. Writing a piece of criticism and getting it published have unique timelines; however, in my experience the average timeline for an enthusiastic critic would be about three months from receiving your work and accepting your pitch, to getting the work published. But I also want to acknowledge: sometimes critics go off the deep-end. I’m currently working on a review of the poet Asiya Wadud who I received a review copy of in March of 2024; I loved the work so much that I have now read everything she has published and am writing like three different pieces on her concurrently as of the writing of this draft, May of 2025. It happens. But where there’s passion and enthusiasm, there’s also the willingness to support and find publication.
Querying language or ideas to avoid:
Hi <book reviewer>, would you review my book? I think it would be great in magazines like <x, y z> because I like the work there or they published me previously.
Reason to avoid this: Reviewers rarely have the capacity to be that picky or deliberate about which magazines publish their criticism. If you’re querying an individual critic, look into their publishing history and see if the books convey a similar genre, see if the magazines they’ve published in are still actively accepting reviews-related work, see when the last time they’ve published criticism is.
Dear <Interviewer>, I think I’d be a great candidate for your interviews because <reasons> and would love to talk with you about <x, y, z>.
Reason to avoid this: There’s nothing wrong about being diligent and enthusiastic; however, I’ve had a number of authors try to prescribe a type of conversation to have about their work. And as reticent as I am to admit it, as a critic, I do have individual opinions! The best tactic when pitching an interviewer is to cite previous works of theirs and affirm your interest in what their critical eye would think/illuminate of your work.
Mis-matching genres! Dear <book reviewer> would you consider writing a <top 10 list of poetry this summer>? Dear <reviews editor> could you interview me?
Reasons to avoid this: The more you know about the individual or publication you’re querying, the more likely you are to engage in conversation with them. If you show a clear disregard of their history, critical interests, or availabilities, in the best case it makes them feel awkward and apologetic about their inability to support you, and in the worst case it turns them off from you as an author entirely.
Sample Query for Criticism Outreach:
SUBJECT: <Interview/Review/Round-up> Pitch: Your Book by Your Name, Genre ( “Interview Pitch: Poems about Pigeons by Cody Stetzel, Nonfiction”)
Dear <Critic>,
I read your work in <publication 1> and <publication 2>, the works you discussed there seem to align in a unique bent about <subject, theme, genre> which my recent publication <your book> is also speaking toward.
I’d love to see how available and interested you’d be in writing about <your book> - if you are, I can send you a physical or digital reviews copy and would love to chat more with you about any ideas or thoughts you might have.
Thanks for the work you do -
<Your name>
Amplification: Across the Channels
My final note here in this review of pitching and promoting your work will be on digital amplification. I work in digital marketing, and so the buzzword of amplification is often about ‘how many places can you post a similar piece of content to generate the most efficient buzz per expenditure of energy.’ On the publishing and promotional side of things, I’d argue that amplification is more about: how many unique platforms can you get your work discussed, with some potential overlap in audience, and some potential uniquities.
Before setting off on this adventure I will offer two thoughts-of-caution: you’ll be doing a lot of cold outreach. Many of these influencers or platforms do not have systems in place for receiving queries, and many of them may not accept queries at all. But, it never hurts to send a DM or email and see what may come of it. The second caution I offer is: if your cold outreach is particularly effective, I would recommend not pushing too much of yourself too frequently in the same time period. This is to say: know the audiences of platforms who accept to work with you or discuss your work, and make sure that you’re not spamming the same group of people across different media. I think you can rest pretty confidently in saying that the tiktok booktokers crowd is probably different from apple podcasts; however, how similar are youtubers and instagram influencer audiences? My rule of them tends to be at a limit of four within a month, but I am not your arbiter. If you are successful in your querying and you desire to blast the airwaves with the tremendous accomplishment of your work, then by all means, please do. However, in my experience, if I see a similar piece of content about the same book or author across multiple platforms or even on the same platform from different influencers too frequently, my alarm bells raise that the book might not be a particularly effective piece of literature rather that the author or press has a particularly effective PR and marketing team.
That said, the same rules about querying I’ve discussed above apply to querying influencers: try to know their work a bit and approach them more personally rather than a blanket, copy-paste email to all of them. Shocker, individual people like to be treated individually. And regardless of size, don’t be afraid to reach out. What can they do? Say no?
The lists below are not exhaustive. These are my recommendations with my bend toward contemporary poetry. Some or many of them are media I actively consume. But almost every platform you can do a quick search of “Poetry discussion” or “Book reviews” or something and find more and more accounts. Do your diligence and homework, be specific in the search queries you try to find more influencers with and keep persevering.
Podcasts
The History of Literature – A deep dive into literary figures, movements, and themes, hosted by Jacke Wilson.
LARB Radio Hour – Engaging conversations with authors and critics from the Los Angeles Review of Books.
New Yorker: Fiction – Monthly readings and discussions of short stories from The New Yorker, hosted by Deborah Treisman.
Backlisted – Reviving overlooked books and authors with lively discussions.
Reading Glasses – A podcast about book culture, reader habits, and literary trends.
Black Chick Lit – A bi-monthly podcast discussing books by and about Black women.
Books & Boba – A book club podcast focusing on Asian and Asian American authors.
The Book Review – Insights and reviews from The New York Times' literary critics.
Literary Disco – Three friends discuss books, writing, and the literary world with humor and insight.
The Garret – In-depth interviews with Australian writers about their craft and careers.
Poetry Unbound – Host Pádraig Ó Tuama delves into a single poem per episode, offering thoughtful reflections.
The Slowdown – Daily poetry readings that encourage listeners to slow down and reflect, hosted by Major Jackson.
Poetry Off the Shelf – Conversations with poets about their work and the art of poetry, produced by the Poetry Foundation.
The Poetry Magazine Podcast – Features readings and discussions from the editors of Poetry Magazine.
Poem Talk – A roundtable discussion of a single poem, exploring its nuances and contexts.
Commonplace – Intimate conversations with poets and artists about their work and lives, hosted by Rachel Zucker.
Interesting People Reading Poetry – Notable individuals read and discuss their favorite poems.
Poetry For All – Each episode features a poem read aloud, followed by discussion and analysis.
The Daily Poem – A short daily podcast featuring readings of classic and contemporary poems.
Have You Heard George’s Podcast? – A blend of storytelling, music, and poetry exploring social issues, created by George the Poet.
Beyond the Verse - An indie podcast aimed at making poetry accessible, Beyond the Verse offers concise and insightful discussions of poems, exploring style, theme, and historical context.
The American Poetry Review Podcast - Hosted by APR editor Elizabeth Scanlon, this podcast features interviews and discussions with poets and critics, focusing on contemporary poetry and literary criticism.
All Up In Your Ears - A monthly podcast where hosts discuss and critique recent poems, exploring different interpretations and the ways poems can resonate with readers.
The Poetry Exchange - In this podcast, guests discuss poems that have been significant in their lives, leading to in-depth conversations about the personal and universal aspects of poetry.
Interesting People Reading Poetry - This podcast invites notable individuals to read and discuss their favorite poems, providing personal perspectives and interpretations.
Instagram Influencers
@poetry.and.plot.twists (Nikki) – Daily book reviews and recommendations, including contemporary poetry.
@canwediscusspoetry (The Poetry People) – Fosters community discussions around poetry.
@poetryisnotaluxury – Curates poems and excerpts, creating a community archive.
@creemyles – Interactive book influencer and curator of @allwaysblack, focusing on Black authors and poets.
@thepoetrygram – Shares contemporary poetry and engages with followers through discussions and prompts.
@poetryandcoffee – Combines poetry excerpts with aesthetic visuals, often reviewing modern poetry collections.
@wordswithkings – Highlights poetry from diverse voices, offering critiques and thematic explorations.
@thepoetryhood – Focuses on community-driven poetry discussions and showcases emerging poets.
@poetryreviewsdaily – Provides daily reviews of poetry books, emphasizing contemporary works.
@modernpoetrydigest – Features analyses of modern poems and interviews with poets.
@kristenbrida – A poet and MFA graduate, Kristen shares thoughtful reviews of contemporary poetry collections.
@tristamateer – An award-winning poet known for works like The Dogs I Have Kissed, Trista offers insights and discussions about poetry on her Instagram.
@savbrown – Savannah is a poet and novelist who engages her audience with discussions about poetry and literature.
@cynsworkshop (Cynthia Bujnicki) – A book reviewer and writer who shares reviews and reading challenges, including poetry.
@literannie (Anna DeGraff) – Anna shares her thoughts on various books, including poetry, providing personal insights and reviews.
@eating.n.reading (Carolyn) – Combines her love for books and food, offering reviews and pairings that often include poetry collections.
@bookish.tam – Focuses on thrillers and contemporary books, occasionally featuring poetry reviews.
@bookishinct – Explores mythology and contemporary literature, including poetry discussions.
@lisastoried – Offers chic book reviews suitable for travel and leisure reading, sometimes highlighting poetry.
@victoriadawsonbooks (Victoria Dawson) – Shares reviews of various genres, including contemporary poetry.
YouTubers
Rachel Oates – Offers thorough reviews of popular Instagram poetry books, analyzing their content critically.
Polina's Pages – Discusses literature and poetry, connecting with fellow book enthusiasts.
Stripped Cover Lit – Provides reviews, read-alongs, and analysis of poetry and other literary works.
Books and Quills – Covers a range of literary topics, including poetry discussions and recommendations.
Insert Literary Pun Here – Engages in literary discussions with a focus on poetry analysis.
Gunpowder, Fiction & Plot – Explores literary works, offering critiques and thematic discussions.
Literary Haylee – Shares insights on poetry and literature through reviews and discussions.
A Literary Princess – Focuses on classic and contemporary poetry, providing in-depth analyses.
Books by Black Authors – Highlights poetry and literature by Black authors, offering reviews and discussions.
The Literary Digest – Delivers comprehensive reviews and discussions on poetry and other literary genres.
Poetry Crone – Provides discussions and reviews of contemporary poetry, aiming to make poetry accessible to a broader audience.
Poem Analysis – Offers analyses and reviews of both classic and contemporary poems, helping viewers understand and appreciate poetry.
Bowery Poetry – Features performances and discussions from various poets, including reviews and interpretations of contemporary works.
Hollie McNish – A celebrated poet who shares engaging poetry readings and insightful commentary on contemporary issues.
Emily Butler – Provides comprehensive reviews and feedback on various poetry works, offering valuable insights.
Rachel Oates – Known for her analytical reviews of poetry, including critiques of popular contemporary poets.
itsdivya – While not exclusively focused on poetry, she offers thoughtful reviews that include contemporary poetic works.
Avery Reads a Book – Shares reviews and discussions on various literary works, including poetry.
Medium Writers
Joel R. Dennstedt – Writes book reviews, including poetry, for Medium's "Write and Review" publication.
Ravyne Hawke – Provides insights on writing engaging book reviews, with a focus on poetry.
Deborah Bacharach – Shares experiences of writing poetry book reviews, offering valuable perspectives.
Alina Stefanescu – Compiles lists of outlets that appreciate book reviews, including poetry.
Soumya (Pretentious Book Reviews) – Offers analytical book reviews that delve into themes and narratives.
Anthony Domestico – Explores poetry and its intersection with other media, providing thoughtful critiques.
Elizabeth Metzger – Shares poetry reviews and discussions, contributing to the literary community.
Trish Hopkinson – Features guest posts and reviews related to poetry and writing.
Write and Review – A Medium publication dedicated to book reviews, including poetry.
Poetry Daily – Provides daily poetry features and reviews, engaging readers with contemporary works.
Substack Newsletters
*There are tons of people writing criticism or reviews or about poetry on substack. And Substack recently added a ‘Poetry’ category. If you’re interested in exploring this space, don’t turn-up your nose to accounts with 100 subscribers or 10000, just have a message to send out and ask if they’d like to review a digital copy of your work.
Book Post by Ann Kjellberg – A newsletter delivering well-crafted book reviews, including poetry.
What To Read If – Reviews diverse and translated books, perfect for readers seeking varied poetry. whattoreadif.substack.com
Read Poetry – Shares poetry analysis, prompts, writing tips, and submission calls.
Essay Hub – Features essays and critiques on literature and poetry, offering insightful commentary.
Linksiwouldgchatyou – Recommends a variety of newsletters, including those focused on poetry.
Book I Want to Write – Highlights favorite Substack posts, including poetry-related content. bookiwanttowrite.substack.com
Tiktok Booktokers
Darrel Yeo (@darrelyeo) - Darrel shares heartfelt poetry book recommendations, highlighting collections like White Nights and The Sun and Her Flowers.
Shannon (@epeolatrys) - Shannon offers monthly poetry reading suggestions, focusing on contemporary works that resonate with modern readers.
Karinna Aidan (@karinnaaidan) - Karinna delves into spoken word poetry, presenting unique pieces that explore deep emotions and personal experiences.
Hayley Grace (@hayleygracepoetry) - Hayley shares her own poetry collections, such as Save Me an Orange and Life After You, offering insights into her creative process.
Celia (@powerhouseofthecel) - Celia explores the diverse world of poets on TikTok, highlighting various voices and styles within contemporary poetry.
@michaelapoetry (Michaela Angemeer) – Author of Poems for the Signs, she shares poetry recommendations and reviews tailored to various moods and situations.
@tristamateer (Trista Mateer) – Shares insights and discussions about her poetry collections, engaging with her audience on contemporary poetic themes.
@bookwormbullet (Ayushi) – Provides commentary and reviews on diverse books, including poetry, with a focus on South Asian literature.
@baker.reads (Brandon) – Offers reviews of various genres, occasionally featuring contemporary poetry collections.
@kaylaberman_ (Kayla) – Shares honest reviews of books she reads, including poetry, providing both positive and critical perspectives.
@azhangia (Az) – Creates calming videos that include reviews and discussions on poetry and other literary works.
@earlgreypls (Aubrei) – Engages with her audience through vocabulary and literary discussions, including poetry reviews.
@zoranne_ (Zoranne) – Provides passionate reviews and recommendations, occasionally featuring contemporary poetry.
@bookishbytammi (Tammi) – Shares her favorite reads, including poetry, with a focus on romance and fantasy genres.
@katiiemcdougall (Katie McDougall) – Offers "read with me" videos and reviews, discussing her experiences with various books, including poetry.
Super helpful thoughts and resources in here. Thanks, Cody! The bear manuscript sounds fantastic.