Indie author Teymour Shahabi explains how to find an editor for the draft of your self-published book and what to look for in a good editing relationship.
Editor Jessi Rita Hoffman explains how to craft professional and compelling back-cover copy for your book.
Literary agent Mollie Glick on what drew her to being an agent, what kind of query letter gets a quick delete, thoughts on chick lit, and more in this 5 On interview.
Understand the 7 sins of memory, and how to use these sins to convey greater meaning and truth in your stories.
Author Barbara Baig discusses word choice and how it affects tone, voice, and clarity.
A growing number of authors with serious literary cred are finding greater financial success—and a welcoming community—in the romance business.
Alex Limberg discusses attaining the perfect balance between dialogue and description in your fiction.
Craig Lancaster talks about his surprise success, what he learned from his most memorable rejection, why he gets so personal on social media, and more.
What authors need to know about the process of getting a book adapted to the big screen.
Asking an editor or agent to sign a non-disclosure agreement is not part of traditional publishing business practice.
How to improve the effectiveness of your email newsletter through very specific changes to your sign-up forms and content.
A children’s author shares her strategies for promoting her picture books on Pinterest—as well as what adult fiction marketing techniques haven’t worked for her.
Steve Brewer discusses having a book adapted to film, his personal writing and editing challenges, and the tricky experience of using a pen name.
SELF-e offers self-published authors a way to distribute ebooks to libraries, but without any pay. The team behind SELF-e addresses the money issue.
Publishers use a P&L (profit & loss) statement to determine whether a book makes financial sense to publish. Here’s how they work—plus an example form.
If you want to write realistic dialogue, resist the temptation to follow a very logical “call and response” structure.
Journalist and consultant Porter Anderson explains the new SELF-e program from Library Journal for getting self-published ebooks into American libraries.
Author and former literary agent Nathan Bransford discusses (among other things) the ongoing emphasis on author platform, publisher and author marketing responsibilities, and in what way being a literary agent influenced his writing.
Chris Kenneally and I discuss the growing field of so-called “hybrid” publishers, and how authors can smartly evaluate them.
Writing groups can cause fatal frustration, deep self-doubt, and sometimes years of wasted effort. Learn the most common dangers of writing groups, and find out how to improve your group to give you more of what you need—and less of what you don’t.
You’ll find common myths and misconceptions about guns in thrillers, mysteries, and crime fiction. These tropes are easy to trip over, so avoiding them will help your credibility.
Here are 10 questions to ask before you choose a Wordpress theme for your site.
Author and writing coach Hannah R. Goodman shares her experiences in self-publishing and marketing YA fiction.
Wondering how to sell your screenplay? Learn the most common paths to production for a first-time screenwriter.
This summer, I’m proud to be speaking at one of the academies at the World Domination Summit in Portland, Oregon. My academy is a 3-hour session on how to get your book published, in partnership with literary agent David Fugate. Attendees of the World Domination Summit can register for $29, but non-attendees can also join us […]
Author Carol Bodensteiner answers the seven questions she gets most about working with Amazon Publishing.
Brooke McIntyre of Inked Voices explains what to look for in a critique group and how to find the best writing critique group for you.
Everything you need to know to start sending an effective email newsletter.
Jane discusses building a digital presence, querying 15 years ago vs. now, agents vs. self-publishing, crowdfunding, and the future of publishing.
Blogger Tania Strauss of NY Book Editors discusses whether you should outline your novel before beginning to write.
Editor Jim Thomsen discusses freelance editing, story craft, favorite authors, and his own authorial aspirations.
Blogger and author Nina Amir explains how to turn your blog content into books and other information products.
The personal essay can provide an artful account of earned insight often more useful than years of therapeutic work.
More than 90% of young people say they want to write a book some day. So why does that inspire such cynicism among adults?
Thriller author Todd Moss describes his own marketing efforts and the marketing efforts of his Big Five publisher, Putnam, for his book The Golden Hour.
Should literary writers consider self-publishing? How it might affect their long-term careers? Two agents weigh in.
Learn about the likelihood of securing a traditional book deal after self-publishing.
On May 23, join me for a 9-city nationwide event at New Dominion Bookshop in Charlottesville, VA.
“Hybrid publishers” are services that don’t fit the definition of traditional publisher or self-publishing service. It can be hard to determine their value.
In this interview, Josip Novakovich discusses expectations vs. reality, the role of writing instruction, trends in writing, and more.
You’ve probably heard the adage that you must begin your novel with action—even if it’s not the main action of the book. While this rule is fairly well-accepted in fiction teaching circles, not everyone agrees with it.
Publishers rarely see any money in anthologies and frequently reject them. But one author was still able to find a home for her project.
Literary journals have done little to move beyond their gatekeeping function, and cling to a scarcity model that no longer works in the digital age.
What does it mean to “engage” with a community? And what’s the benefit?
As a teenager, I looked on my mother’s files with disdain and, later, with pity. How sad, I thought, to just move papers about and never really do the things you want to do. How tragic, to lock up a life in a box.
In this interview, author E. E. King (Elizabeth Eve King) explains her approaches to writing, humor, marketing, and publishing.
When we talk about plot as separate from the characters, the symbols, the locales, the dialogue, and the philosophical introspection, what we are doing is privileging events over everything else. But nothing exists in a vacuum.
If you can’t portray someone you know personally in a positive fashion, you will probably lose this friend and/or be sued for libel.
Consider the story or message you wish to share, rather than focusing on the container.
More writing does not necessarily equal better-quality writing, nor does faster writing lead to faster achievement of your goals.