Home » BOOKS » JEAN SHEPHERD–Shep Promotion Part 1 of 2

JEAN SHEPHERD–Shep Promotion Part 1 of 2


Jean Shepherd promoted his own books and other creative works in a variety of ways.

•He talked about them on his radio program

•He did book tours to bookstores

•He did radio interviews around the country to talk about the books and other work

•He mentioned them during live-appearances at schools and other stand-up venues.

He referred to two of his books of short stories as “novels” because novels, in general, sell better than books of short stories. (By the way, Norman Mailer–whom Shep disliked a lot for some probably causes I’ve commented on previously)–was probably the greatest ever self-promoter of his own persona and work.)

IGWT .novel. cover

Four opening titles of the movie A Christmas Story credit him. That his film and television stories use some of his short stories, by implication promotes his published stories. Lists of his stories used in ACS are familiar to many. Here, from, is part of its list of Shepherd short story subjects used in Shep’s 90-minute TV drama, “The Great American Fourth of July and Other Disasters”:

Wilbur Duckworth and the Magic Baton • The Blind Date • Scragging •

 The Wash Rag Pyramid Scheme • Uncle Carl’s Fireworks Stand •

 The Old Man’s Fireworks Display • Ludlow Kissel • Fireworks on the Roof of Roosevelt High

This above is not a negative description—all of this is good,

and standard operating procedure in our world.

In fact,  “Shep Promotion Part 2” describes ways in which I have promoted my work about Shep.



1 Comment

  1. Tom says:

    During his promotion of Ferrari In The Bedroom, Shep appeared at small bookstore in my town, and I faced yet another reminder that I was one of the have-nots at Eastside Elementary School. The line of fans waiting to have new books signed was 40 deep when I showed up with my dog-eared paperback copy of In God We Trust and a cardboard cockroach that I’d made for Shep to autograph. You see, my parents were a bit suspicious about the book’s title to begin with, but the deal-spoiler was that good money was never to be spent on a hardcover book unless it was a work of distinction, e.g. my Dad’s Readers Digest collection of the great classics. To my growing dismay, almost half the people in line were guys I hung out with, accompanied by their parents. Each clutched a brand spanking new version of Ferrari, and nobody failed to notice that I hadn’t bought one. To this day it pains me to recall the insults I suffered, the most stinging of which compared me to members of a demographic group that was in those days stereotyped as being extremely tight with a buck. “Watch out for the big spender behind me,” a supposed friend of mine told Shep when his turn came, “He’ll swipe your wallet!” Shep smiled behind his big walrus moustache and graciously signed my cruddy paperback and cockroach, and then another “friend” shoved me out of the way. A few years later, I had a part time job and finally could afford my own copy of the book. In paperback, of course.

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