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.
In many ways, it’s never been harder to get a traditional book deal. At the same time, there have never been more ways to establish a career as an author.
Why should you care that there are only two story types? It actually matters. Like a chef, knowing what defines the concoction you’re about to create will help you figure out how to make it work. And how to stop it from failing.
If your readers are going to put themselves in your skin and live your experiences, you need to be hyper-conscious of what those experiences looked, felt and sounded like before you write them.
I’d like to highlight two common writing flaws that clutter the manuscripts of many aspiring authors. I call these culprits “hedge words” and “inflation words.”
If people judge books by their covers, then typesetting is the difference between a brief or a lasting impression. The cover may grab a reader’s eye, but what the reader sees when they crack open the book is what will hold their attention.
Memoirists have to write their story, the events of their life, from a future perspective. From NOW. Now brings with it maturity, wisdom, insight, and grace. The mature self speaks from a place of distance but not detachment.
A step-by-step guide to finding literary agents, plus how to select the right agent for you and your work.
What’s the overriding reason for an author to find an agent and a traditional publishing deal? Is it possible that the reasons may be flawed?
At its core, a query letter is a sales document, and so it’s meant to sell. But opinions differ on the best possible sales approach in a query.
Many people want to be rock stars—and many people want to write books. But there are many ways in which a writing dream can crash and burn. One way is to be unclear about what you want with what you are ready to do.
Each scene in your book requires a beginning, middle, and end. Here are four paths to launching your scene—plus the questions you should ask about each one.
Giving characters painful backstory makes them feel credible to readers. But when it comes to describing what happened, many writers jump headfirst into an info dump, hoping a summary will create a shortcut to empathy and “catch readers up.” Unfortunately, this can have the opposite effect.
Any author can successfully launch their book through crowdfunding if they are willing to put in the effort. However, it may not be the right path for everyone.
Fiction writing, while not closely associated with affecting one’s real-life relationships, can indeed have that power and develop one’s empathy.
Four lessons for YA: Make it real, get rid of parental oversight, feature topics making the headlines, and include hope.
There are many good reasons to hire a professional editor, but also a number of compelling reasons to hold off and save your money.
If you’re pitching your book to agents or editors, the perfect title for your book will define your subject and grab their positive attention. It should be a label they can confidently share with colleagues in editorial board meetings and use to convince the powers-that-be to release money to acquire your book.
Series have become extremely popular, and secondary characters are now in the spotlight. Readers enjoy trying to spot the next potential hero or heroine.
Sometimes guidelines for writers discourage perfectly private, internal envy, anger, indignation, etc., directed toward other writers, or toward agents (or publishers) rejecting work. But that hardly seems realistic, nor is it fair to ask humans to stop being human.
There’s no quicker way to intimacy with a lead character than first-person point of view (POV). But numerous challenges also come with this POV. One of these is the natural limitation of being stuck in one perspective throughout the story.
Word doesn’t export to EPUB, but you can still produce an editable file quickly, without buying software or using a “meatgrinder” conversion.
Pitching agents at a writers conference can be a difficult task for the new writer. Here’s how to make it a little easier on yourself.
Are you getting the most from professional feedback, or are you inadvertently sabotaging your progress? Look for these patterns in your response.