Studies show that making meaningful progress toward big goals is best served by focusing on the small steps that will get us there.
Developmental editors, critique partners, sensitivity readers, friends—feedback comes from different people, for different reasons, at different times.
Small presses are their own ecosystem. To understand the landscape, study the review sites, awards, and distributors catering specifically to that market.
You can get your readers behind a character they don’t want to grab a beer with—if you allow enough humanity to show through.
We’re often told to read the best books first and apply their lessons to our own work. Here’s a wrinkle: Books you don’t like can be great teachers too.
When used properly, flashbacks can be illuminating. When used haphazardly, they detract from the narrative and leave the reader confused (or worse, bored).
The human condition in its alienation, pain, and joy yearns for a faithful scribe. Memoir offers readers that ultimate safe harbor: the knowledge that they are not alone.
Is your reader being told a story, or experiencing it by your protagonist’s side? When revising your novel, here are four important red flags to look for.
Unless you’re a celebrity, your expertise in a field may not be enough to interest publishers. A partner can increase your book’s credibility and reach.
Here’s a System and Template for Tracking Your Submissions (Bonus: It Reduces the Sting of Rejection)
You can’t control rejections, but you can control your next steps. Staying organized and focused helps isolate and minimize the impact of any one rejection.
Just like your hero, your villain should be fully three-dimensional: fallible, flawed, and complete with a backstory that explains being so downright nasty.
The query letter has one purpose, and one purpose only: to seduce the agent or editor into reading or requesting your work. The query letter is so much of a sales piece that it’s quite possible to write one without having written a word of the manuscript. All it requires is a firm grasp of your story premise.
A book is often the product of teamwork. The ability to revise—to accept feedback and apply it with diligence and insight—is essential to success.
While it’s not wrong to open in these ways—and a great writer can make even the most pedestrian series of events read as fascinating—consider if you can find a more advantageous way to begin.
In conversation we describe dialogue simply—”She said,” “He asked”—but writing enables a broader palette. How do we decide which words to use, or not use?
It may be on the wane for reasons ranging from linguistic evolution to feminism, but one writer says exclamation point usage is a simple kindness.
Like trying to outrun a semi bearing down in your rear-view mirror, writing serially for release in real-time can be both exhilarating and exhausting.
When you’ve taken your work as far as you can, a manuscript evaluation can address problems before you begin querying and submitting.
Readers come to a memoir in hopes it will shed light on their own life experiences. Stay on the right track by focusing on what makes your story unique and engaging.
There’s a big difference between writing a book for ourselves and writing one for the reader. In this guest post, nonfiction coach and memoirist Tanja Pajevic offers five steps to keep in mind when crafting your story.
Perspective—gained from time and distance—can make the difference between an airing of grievances and a memoir that expresses deeper, universal truths.
Taking the time to add the skills of creative imagery to your writer’s toolbox will help you become a master of the emotional craft.
Writers always seek to produce a unique story—but this can lead to creating a character or story that is “different” sheerly for the sake of, well, being different.
You need readers to love your novel—and finish it. Author H.R. D’Costa explains how story stakes can help you grow readership and sales.
Writer Nancy Jorgenson tells her story of surprise success in landing just the right publisher for her book—one she had never heard of.
Narrative is a form that can be learned, like a dance move or a golf swing. Alan Gelb breaks down narrative into four elements: The Once, The Ordinary vs. the Extraordinary, Conflict and Tension, and The Point.
Value is subjective, but readers like all consumers seek it. In this guest post, author Paulette Perhach explains how writers whose work earns income match their own sense of value to what their readers value.
Writing an essay that wins a contest is not an easy task, but it’s not impossible either. Tammy Delatorre explains the writing and revision process that has led to multiple contest wins.
Good literary agents keep fighting for books they believe in. But how do agents decide which authors to rep? In this guest Q&A, literary agents Linda Camacho and Jennifer March Soloway describe their ideal projects and offer strategic advice for authors.
Realism has its role, but don’t let it bog down your novel. The right balance of brevity, helpful details, and smooth flow preserves the story’s dramatic tension and keeps the pages turning. In this guest post, bestselling author Jordan Rosenfeld outlines the pitfalls that can bore your reader, and how to avoid them.
The commonly accepted strategy in literary journal submissions—”study the publications you submit to”—can discourage emerging writers. Here’s an alternative.
Successful writing for audio formats requires awareness of how a listener’s needs differ from a reader’s. In this guest post, playwright and fiction writer Jules Horne describes and illustrates key ways a writer can achieve listener attunement to the story.
Use of beta readers is widespread, but surprisingly little has been written about how writers actually use them and how they help—or if they do.
When novelists struggle to pitch their work, it may have more to do with the book itself than the query letter. Editor and book coach Susan DeFreitas discusses three reasons why a promising work never lands a traditional deal.
If a character is repressing an emotion, real-world behaviors can show it. Readers will catch on because they’ll recognize their own attempts to hide their feelings.
When I finished my biography, I studied how to get it published. Websites advised: platform, platform, platform. But I had no relevant background. Now what?
While it’s possible to write memoir from your own authorial POV (because you know more today than you did then), the most engaging memoirs are ones in which the author sticks to their POV at the moment of events.
Although the world of submissions can be complex and expensive, balancing your submission budget doesn’t have to be. Here are some tips to help you minimize expenditures and maximize profit.
Before writing a scene, determine what type of scene it’s going to be. Will it be a narrative scene? High-action scene? Low-energy dialogue scene?
Plot and structure books aren’t necessarily calling for adherence to a formula—in fact, they warn against it. Here are 3 story planning methods to consider.
Today’s guest post is by Jenn Scheck-Kahn, founder of Journal of the Month. Literary magazines, also called literary journals or lit mags, are devoted to short-form creative writing. What distinguishes them is what they publish (a single genre or a mix of genres), how often they publish (annually, biannually, quarterly, monthly), and their medium of […]
If you’re pitching a nonfiction book, at some point, an editor or agent will expect you to describe the readership that your book is intended for.
Misconceptions pervade popular science fiction. Many, if not most, could have been avoided if the writers spent some time doing research.
When children cannot find themselves reflected in the books they read, they learn a powerful lesson about how they are valued in society.
Learn how to simplify the writing process for how-to books and write them in a way that provides maximum value in an information-filled world.
Few of your readers care about what you know, no matter how many years you have spent accumulating that wisdom. They care about what they need or want to understand.
For beginning fiction writers, focusing on place is one of the easiest ways to improve stories that aren’t quite working.
Subplots help you pace your story and keep the tension rising. Unfortunately, the name “subplots” wrongly suggests they are somehow inferior or substandard.
As the publishing industry has transformed in the digital age, small press activity has proliferated. Here’s how authors can evaluate their offerings.
On the whole, stories are about change. And scenes are a boiled down, less intense, mini-story. They should do the same thing your global story does: upset the life value of the character and put them on a path to try and restore it.