David Henry Sterry

Author, book doctor, raker of muck

David Henry Sterry

Tag: Arielle Eckstut Page 1 of 2

Wayetu Moore & The Book Doctors Talk about Books, Writing and How to Get Published

Great interview with Wayétu Moore, writer extraordinaire, about books, writers and publishing with the Book Doctors

Like Vanessa, Tami Charles, "book cover"

Tami Charles on Writing for Kids and Getting on Good Morning America

We first met Tami Charles at a Pitchapalooza at the great independent bookstore, Word, in Jersey City; and we immediately knew she was a star. We met her again a year or so later at a book reading by Arielle’s Newbery-Award-winning client, Kwame Alexander, where we got the news that Tami had landed a book deal. Just another reason to go to awesome author’s events! Tami carries herself with such style and was so articulate, funny, and altogether together, we immediately thought she was a person who would succeed in any business. And it turns out she has, in the business of books. We found out she had a book coming out, and now that it has arrived, we decided to pick her brain about what it takes to get published when you write for kids.

 
                                                                                           Tami Charles
 
                                                               

The Book Doctors: Tell us about your debut novel Like Vanessa.

Tami Charles: Thirteen-year-old Vanessa Martin has always watched the Miss America pageant with her Pop Pop. Even though she often dreamt of herself on that stage, she’d never seen a woman of color win. That all changes on September 17, 1983, when Vanessa Williams makes history as the first black woman to capture the title. That sets young Vanessa on her own path to enter her school’s beauty contest. Problem is, her father and the resident mean girl think she doesn’t stand a chance.

TBD: How did you get a big star like Vanessa Williams, who is the Vanessa in the title, Like Vanessa, to give you a blurb?

TC: A little bit of luck and a whole lot of blessings! Vanessa Williams is a former Miss America. She’s the reason why I participated in the Miss America program while in high school. So it was natural that I reached out to fellow pageant friends (and my writing community) for advice on ways to connect with her. Luck would have it that she was holding a show at a local theater and after pitching the novel to her agent, I was granted a meeting with her after her performance. I gave Ms. Williams a copy of the novel, we chatted a bit, and took some pictures. I kept in touch over the course of a few months and was honored to receive a glowing endorsement from her for the novel’s cover.

TBD: Tell us about your path to publishing Like Vanessa?

TC: Like Vanessa was not my first book. I’d written quite a few others and had gotten rejections galore. After taking some time to work on my craft, I began creating this novel, which had been an idea in my head for years. I wrote Like Vanessa during National Novel Writing Month (Nanowrimo) of 2013, edited it through the winter, shared it with my critique group, hired an editorial consultant to prepare it for submission, and then started querying in spring, 2014. I was super thrilled to land my agent, Lara Perkins of Andrea Brown Literary, with this manuscript. Together, we edited some more and went out on submission to publishers. To my surprise, I landed a two-book contract at Charlesbridge Publishing, with the fabulous Karen Boss serving as editor.

                                                                                  Like Vanessa by Tami Charles


TBD: You also do picture books. How did you hook up with a great publisher like Candlewick?

TC: I love writing picture books and Freedom Soup was actually my very first book deal, even though Like Vanessa published first. My agent pitched the book to an editor at a different publishing house. While the editor liked the story’s concept, she felt there was someone else better suited for it, given his love of Haiti. Carter Hasegawa at Candlewick made an offer on my debut picture book and it’s been great working with him. We even have another picture book together entitled A Day With The Panye, publishing in 2020.

TBD: Tell us about the Daphne books.

TC: In front of her followers, Daphne is a hilarious, on-the-rise vlog star. But at school, Daphne is the ever-skeptical Annabelle Louis, seventh-grade super geek and perennial new kid. To cope with her mom’s upcoming military assignment in Afghanistan and her start at a brand new middle school, Annabelle’s parents send her to a therapist. Dr. Varma insists Annabelle try stepping out of her comfort zone, hoping it will give her the confidence to make friends, which she’ll definitely need once Mom is gone. Luckily there is one part of the assignment Annabelle DOES enjoy — her vlog, Daphne Doesn’t, in which she appears undercover and gives hilarious takes on activities she thinks are a waste of time. She is great at entertaining her YouTube fans, but her classmates don’t know she exists. Can Annabelle keep up the double life forever?

 
                                                                           Definitely Daphne by Tami Charles

TBD: Why should a writer whose writing books for kids join SCBWI?

TC: The reasons are endless. SCBWI provides a sense of community for writers of all levels. I have met some of the kindest, most helpful writers because of this organization. We have critiqued each other’s work, provided a shoulder to cry on during times of rejection, and raised our pom poms to celebrate industry milestones. Also, the opportunity to meet and learn from powerhouse agents, editors, and art directors at conferences is priceless.

TBD: How did you get on Good Morning America?

TC: Again, a little luck and a huge dash of sisterhood! A pageant friend who coordinates bookings for Good Morning America posted on Facebook that she was looking for home cooks to feature on a Thanksgiving segment. I dub myself a wannabe chef, plus my debut picture book, Freedom Soup, is about a traditional Haitian holiday meal (bonus recipe included), so I had to take a chance. I provided my recipe and an audition video and got a call, asking to appear on the show. I had the time of my life and hope to do more television segments in the future!

TBD: What’s the key to a writer making a video?

TC: I’m not sure that I’m the expert here, as I still have my training wheels on. I’ll say this: just be yourself and have fun. Authenticity is what will connect you to potential readers.

TBD: How are writing and getting published different when writing picture books, middle grade and young adult books?

TC: There isn’t much difference between the three, I’d say. Maybe on the logistics end, since middle grade and YA books are longer. With picture books, the word count is much shorter, but there’s a lot to consider, especially with leaving room for the illustrator to shine. That’s not the easiest task!

TBD: Who inspires you?

TC: This is a trick question! I could take up pages on this one, so I’ll try and keep it short: My family, particularly my husband and son, and countless writers fighting the good fight with the words and art they put on the page: Kwame Alexander, Rita Williams-Garcia, Guadalupe Garcia McCall, Meg Medina, Edwidge Danticat, Toni Morrison, Maya Angelou, Vanessa Brantley-Newton, Floyd Cooper, Margarita Engle, okay I’ll pause here. But yeah, these folks give me hope!

TBD: We hate to ask you this, but what advice do you have for other writers?

TC: Blinders on! There’s no time to worry about what other folks are doing. Their success will look different than yours and you certainly can’t measure yourself against them. Success comes in all forms. You wrote a paragraph today? Celebrate that. Got a six-figure book deal? Good for you! Starting to get “nicer” rejections? Don’t worry. Your “yes” is coming. Hold the vision you have for yourself and trust that with razor-sharp focus, you’ll get there.


You can follow Tami Charles on Twitter @TamiWritesStuff, Instagram @tamiwrites, or her website: www.tamiwrites.com.

Check out the inspiration behind Like Vanessa here:


Tami Charles: Former teacher. Wannabe chef. Debut author. Tami Charles writes picture books, middle grade, young adult, and nonfiction. Her middle-grade novel, LIKE VANESSA, has earned Top 10 spots on the Indies Introduce and Spring Kids’ Next lists, along with three starred reviews. Her picture book, FREEDOM SOUP, debuts with Candlewick Press in fall, 2019. She also has more books forthcoming with Capstone, Sterling, and Albert Whitman. Tami is represented by Lara Perkins, of the Andrea Brown Literary Agency.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them, they have authored 25 books and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book ReviewGet publishing tips delivered to your inbox every month.

JOIN THE BOOK REPORT TO RECEIVE MORE INTERVIEWS AND TIPS ON HOW TO GET PUBLISHED!

Arielle Eckstut & David Henry Sterry have helped hundreds or writers get successfully published. They wrote The Essential Guide to Getting Your Book Published.

 

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Author Dianna Sanchez (Jenise Aminoff), author of A Witch's Kitchen

Jenise Aminoff on Kickstarter, Writing, and Getting Her Novel Published

We first met Jenise Aminoff at the New England SCBWI Conference in Springfield, Massachusetts. She wowed us with her awesome pitch at our Pitchapalooza (think American Idol for books), and we were absolutely sure that she was going to be a published author sooner rather than later. Sure enough, her new book, A Witch’s Kitchen, is coming out, and we thought we would pick her brain about her road to publication.

Read the interview on the Huffington Post.

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The Book Doctors: How did you learn to be a writer?

Jenise Aminoff: Yikes. There are so many ways I could answer that question. The simple answer is that I took a lot of classes. When I got to MIT, thinking I’d be a physicist or aero/astro engineer, I started taking writing classes as stress relief. Contrary to popular belief, MIT actually has a robust humanities department and an excellent writing program. At some point, I realized that I was enjoying writing much more than solving equations, so I changed majors. I have a bachelor’s of science in writing, and my thesis was poetry. Go figure.

One of the classes I took was Joe Haldeman’s Science Fiction Writing. He told us about the Clarion Workshop, so the fall after I graduated (and got married), I applied and got in. Clarion ’95 was an incredible experience, and a lot of fantastic writers came out of it. Josh Peterson attended having just won the Writers of the Future contest. Kelly Link (a recent Pulitzer finalist) sold her first story to Asimov‘s during Clarion. Nalo Hopkinson (won a Campbell and a Nebula and many, many more), Lucy Snyder (just won a Stoker), and Michael Warren Lucas have all gone on to be successful novelists. Bruce Glassco wrote the incredibly popular board game Betrayal at House on the Hill.

Going from that to the MFA program at Emerson College was a huge letdown, and I quit after one semester. But I needed a job, so a friend took pity on me and got me a job as a technical writer. Funny thing: if you tell people you have a degree in writing from MIT, they immediately assume it’s technical or scientific writing. Since then, I’ve been a technical writer, science writer, information designer, webmaster, grants writer, marketing content writer, and STEM curriculum designer.

For a long time, my fiction and poetry took a backseat to career and kids, but then a novel fell on my head. And I realized I was in trouble because I’d never studied long-form fiction, and novels are NOT just longer versions of short stories. So I found more classes to take: Odyssey Online’s Fabulous Dialogue in Fantastic Fiction with Jeanne Cavelos, Writing Middle Grade/YA Novels with Holly Thompson, and Odyssey Online’s Getting the Big Picture (novel revision) with Barbara Ashford.

All throughout this, I was keeping active in one way or another. I belonged to critique groups, live and online. I was a slush reader for Aboriginal Science Fiction magazine right after Clarion, and after the first Odyssey Online class, I became an editor for New Myths magazine. I ran a reading series with an open mic for nearly ten years. And I read and read and read, everything I could get my hands on about writing: Le Guin’s Steering the Craft; Lawrence Block’s Spider, Spin Me a Web; Don Maass’s Writing the Breakout Novel; Cathy Yardley’s Rock Your Plot; and of course, The Essential Guide to Getting Your Book Published. I also joined the Society for Children’s Book Writers and Illustrators (SCBWI) and read their annual guide and quarterly newsletters and online articles.

TBD: What were some of your favorite books as a kid, and why?

JA: Yikes squared. How long can this article be? I’m a VORACIOUS reader.

When I was still in the children’s room of the Ernie Pyle branch of the Albuquerque Public Library, I read Walter Farley (The Black Stallion), Marguerite Henry (Misty of Chincoteague), Frances Hodgson Burnett (The Secret Garden, The Little Princess). At my school library, I read all the Happy Hollisters and the Oz novels, Louisa May Alcott and Laura Ingalls Wilder. Then one day, when I was nine, I stumbled across a new book, Anne McCaffrey’s Dragonflight. Yes, I know that’s not a juvenile. Someone had misshelved it, I suppose. But I checked it out, read it with avid interest, brought it back, and asked if there were more.

The children’s librarian looked at me. “You read this? Did you understand it?” When I nodded, she called my mother over, spoke to her briefly, then turned back to me and said, “Come with me.” She led me into the adult section of the library and placed in my hands a small paperback: J.R.R Tolkien’s The Fellowship of the Ring.

I owe that librarian so much, and I never even knew her name. After that, I had the run of the adult section. My mother was a mystery reader, but she also liked Ray Bradbury and introduced me to him. I started reading the entire SF section starting with the A’s: Anthony, Asimov, Beagle, Bradley, Cherryh, Clarke, Donaldson, Doyle… Eventually, I looped back to juveniles and found Lloyd Alexander and Madeline L’Engle. Of these, the ones I read over and over and over were Peter Beagle’s The Last Unicorn, Tolkien’s Lord of the Rings, all the McCaffreys, L’Engle’s A Wrinkle in Time, and, in my teen years, Windhaven by George R.R. Martin and Lisa Tuttle.

TBD: What are you reading these days?

JA: Still reading children’s literature, everything my girls bring into the house, plus a lot of stuff they don’t find interesting but I do. I’m currently investigating verse novels as an interesting form I’d never known about. Also adult SF, particularly Seanan McGuire, Cat Valente, N.K. Jemison, Daniel Jose Older, John Scalzi, and China Mieville. My husband is a history buff, and he hands me the well written stuff. I’m currently reading Sailing the Wine Dark Sea by Thomas Cahill. I’m also reading some basic psychology, articles on Maslow’s Hierarchy of Human Needs as a framework for structuring character development. I’m working my way through Second Sight by Cheryl B. Klein. I follow several web comics religiously: xkcd, Girl Genius, Questionable Content, Mare Internum, Blindsprings, Kiwiblitz, and Phoebe and Her Unicorn.

TBD: How did you come up with the idea for your book?

JA: It fell on my head. Really. In my family, we make each other Christmas presents. Right after Thanksgiving 2013, my younger daughter asked me to write her a story with fairies and unicorns as her present. I thought, okay, sure, 10 pages or so. A couple of days later, I was watching my older daughter baking a cake. She doesn’t use recipes (that’s cheating), and sometimes her cakes are fabulous and sometimes they’re awful, but most of the time they’re okay. I thought, What if there were a young witch who just can’t figure out magic but is really good at cooking? And I started writing. And writing. And the story wouldn’t end. By Christmas, I had something like 50 pages written, and I knew then that it was a novel. I finished the first draft in time for her birthday in March, and it was around 50k words by then.

In A Witch’s Kitchen, Millie’s an apprentice witch who can’t cast a successful spell but who can cook amazing meals and scrumptious desserts. Her mother’s only interested in the magic, though, so Millie feels unappreciated and worthless. Millie’s grandmother comes up with the clever idea of sending her to the Enchanted Forest School, where she studies magic and many other things with fairies and dragons and goblins, reconnects with her half-brother, a wizard, befriends a pixie and an elf, and starts discovering that her cooking has value, and her magic isn’t so messed up as it seems. Ultimately, the novel’s about not letting other people define you.

TBD: What were some of the joys and perils of writing your novel?

JA: Joys and perils is a good way to describe it. On the one hand, it was glorious. Words just kept pouring out of me in this seemingly unending stream, and the big challenge was finding time in which to write. Fortunately, my employer decided to move to a new location which would have meant a 90-minute commute for me, so I gleefully quit and focused on the novel. But I really had no idea what I was doing. It felt like navigating a maze in total darkness using only my elbows. Characters would suddenly appear out of nowhere and take over the plot, and I’d later have to ruthlessly revise them out. And because this was my first novel, every niggling little idea I’d ever had, and every moral I wanted to pass on to my girls, showed up in one form or another. And I then had to prune and prune and prune. I have determined, empirically, that I am not a pantser. All those years as a technical writer, I suppose.

TBD: How did you go about selling your book?

JA: First, I joined SCBWI and looked through their annual guide, The Book, and their lists of agents and their sample query letter. I usually attend Arisia, the largest SF convention in Boston, and it so happened that in January 2015, N.K. Jemison was doing a pitch session, so I signed up for that. I really had no idea what a pitch was, so I read her the first paragraph of my query letter, and she had some good advice for fixing that up. Her assistant gave me some comp suggestions.

Then I went to the New England SCBWI Conference in Springfield in April 2015, and I learned so much, my head nearly exploded. On the first day, I went to a query critique session with agent Kaylee Davis, and she had some very helpful advice. I was attending with my friend Dirk Tiede, who was also a first-time attendee, and he insisted I had to do the Pitchapalooza. I really didn’t want to; pitching in front of a huge crowd of people I didn’t know sounded absolutely terrifying, but Dirk was pitching, so I put my name in to be supportive. When you pulled my name out of that bucket, I was sitting on the floor in the back of the room, frantically revising that pitch using Davis’s advice. The sheet of paper I brought up was scribbled over and scratched out and rewritten. But I pitched it, and I won. I’m still stunned by this. I’d never even seen a Pitchapalooza before.

This gave me a lot of confidence. Taking what I learned at the conference, I revised the novel again, and I started querying in June, without a whole lot of success. My manuscript buddy Dana told me about Twitter pitch parties, and I tried a few of those and got a few lukewarm responses. And then my friend Elizabeth told me about the Young Explorers’ Adventure Guide, an annual anthology of science fiction written for children, mostly middle grade but also a little YA. I checked out the publisher, Dreaming Robot Press, and I noticed that they were accepting submissions for MG fantasy novels. So I sent them my query. They got back to me in early August expressing interest, and I called in my Pitchapalooza prize, a consultation with you. Thank you so much for holding my hand through that process.

Despite your and my best efforts, I never landed an agent, but I got a lot of good advice from Gay Haldeman and Jeanne Cavelos and Barbara Ashford, and I signed with Dreaming Robot Press in February 2016.

TBD: What was it like to do a Kickstarter campaign? What are some do’s and don’ts that you learned?

JA: The Kickstarter campaign was wild and terrifying and huge fun, all at the same time. I’d been involved in a failed Kickstarter before, but Dreaming Robot Press had done two successful Kickstarters in the past, and I trusted them to make it work. One smart thing they did was pair me up with a more seasoned author, Susan Jane Bigelow, whose Extrahuman Union series is now being republished by The Book Smugglers Publishing. One mistake they made was setting the goal way too low, at just $850. We funded it in the first seven hours, during our Facebook launch party! After that, I think a lot of people just thought, oh, it funded, I don’t need to support this, so getting more buy-in was hard.

I kept trying to come up with stretch goals. I offered to publish a companion cookbook, and we blew through that stretch goal within 24 hours. I then offered to do free school visits for every $1000 over the goal, but that was too high, and it looks like I’ll only be doing one of those. During the middle slump, I got the Kickstarter posted on boingboing.net, and that same evening Susan and I were interviewed on the Sci-Fi Saturday Night podcast. All that effort netted us a total of four new supporters. But at the end, we came in at $2101, which is a pretty good feeling and some nice early publicity before publication in September.

TBD: Many writers have used pen names. In fact, David published a middle grade novel using another name, but that was because his publisher basically forced him. Why are you using one?

JA: I posted a long essay about my pen name on my Facebook author page. Here’s the short form: Dianna is my middle name, and Sanchez is my mother’s maiden name, so it’s as much my name as Jenise Aminoff. Growing up, I never saw Hispanic names on the spines of the books I read, and I never found Hispanic characters inside those books. As a child, I never questioned this. It was obvious that science fiction/fantasy was a white thing, as so many things were then.

It wasn’t until I got to college that I discovered black SF writers such as Samuel R. Delany (who was one of my Clarion instructors) and Octavia Butler. I started asking, where are all the Hispanic SF writers? I found Gabriel Garcia Marquez and Jorge Luis Borges, but that was magic realism, and I didn’t really understand the distinction, why Hispanic speculative fiction needed its own little box. Thank goodness other Hispanic SF writers are starting to emerge now: Junot Diaz, Daniel Jose Older, Carmen Maria Machado.

I want my daughters to see Hispanic names on books. I want them to find Hispanic characters in books. I want other kids – white, black, Asian, whatever – to see them, too, and to understand that science fiction is for everyone.

TBD: What’s next?

JA: Right now, I’m in the middle of moving, but that’s starting to calm down a little, so I’m beginning to plan out my next novel. I have so many novels that have been simmering on back burners, it’s been hard to decide which ones to work on next. Right now, I’m outlining a MG urban fantasy which features cross-group characters: one black, one Hispanic, and one of mixed ancestry including Anasazi. It takes place in Albuquerque and addresses issues of culture shock and adapting to new environments.

At the same time, I really want to be working on a YA novel in which a Hispanic boy gets lost in an infinitely large discount store, encountering people from all over the world who are similarly trapped. There are so many fun things I can do with this, while also channeling a creepy vibe I haven’t really played with before. But this novel is much less fully developed than the MG novel, so I’ll probably work on that first. And I have a long, LONG list of other novels I want to get to, not to mention sequels to A Witch’s Kitchen.

TBD: We hate to ask you this, but what advice do you have for writers?

JA: Ooh, now you’re playing dirty. Okay, here are the things I find myself telling people again and again.

  1. Go easy on yourself. Life is hard and crazy, and you never know from day to day what’s going to come along to sabotage your writing practice. Don’t feel bad about that, because your life informs your craft, and everything you do when you’re not writing is going to end up in your writing later. It’s great if you have a stable enough life that you can write a set number of hours every day, but if you can’t write every day, don’t let the shame of having failed prevent you from writing when you do have the time.
  2. That said, be persistent. So you didn’t write today. Tomorrow, find ten minutes to jot down ideas or do character sketches. Then, when you have a luxurious hour or two for uninterrupted writing, you’ve got material ready to work on.
  3. Don’t write alone. Find a critique group that’s supportive and dedicated, one that’s not overly harsh but also doesn’t pull punches, and one in which everyone is contributing more or less equally. These people are your lifeline. They will keep you sane. Critiquing their work will help you recognize what you should improve in your own writing. If you write kidlit, SCBWI has a critique group matching service you can use. If you don’t, Meetup is another great place to find groups. There are lots of online groups, too. Join the Fantasy and Science Fiction Writers in America Facebook group and just ask there. And if you can’t find a group that meets your needs, make one. That’s what I did, pulling together a bunch of people I met at that fateful 2015 conference. I love them all; I could never have finished my novel without them.
  4. Every first draft is terrible. Don’t lose heart. That’s what revision is for. I hate revising, passionately, and would rather go clean the bathroom or weed my garden. But revision is actually where things get interesting, when you pull together all the disparate threads of your story into a complex, well-woven whole. Think of revision as an endless series of do-overs. In time, you’ll get it just right.

Dianna Sanchez is the not-so-secret identity of Jenise Aminoff, whose superpower is cooking with small children. She is an MIT alumna, graduate of the 1995 Clarion Workshop and Odyssey Online, active member of SCBWI, and a former editor of New Myths magazine (www.newmyths.com). Aside from 18 years as a technical and science writer, she has taught science in Boston Public Schools, developed curricula for STEM education, and taught Preschool Chef, a cooking class for children ages 3-5. Her debut novel is A Witch’s Kitchen, forthcoming from Dreaming Robot Press in September 2016.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Cathy Salit, author of Performance Breakthrough

Cathy Salit and the Power of Performing as an Author

Imagine Being the Writer You Are Not…Yet

We first met Cathy Salit when she had an idea for a book. As the CEO of Performance of a Lifetime, a company that helps individuals and organizations with all things related to human development, we knew she had a life-changing book on her hands. Performance Breakthrough: A Radical Approach to Success at Work can now be found in the business section of bookstores. But we think it’s a book that everyone interested in becoming a better version of themselves should read, especially if you’re an author without writing experience, or a writer without publicity and marketing experience. You’ll see why.

Read the interview on the Huffington Post.

cathy salit, author book cover of Cathy Salit's Performance Breakthrough

The Book Doctors: In your book, Performance Breakthrough, you talk about the idea that you can be who you are and who you’re not at the same time. Can you explain what that means?

Cathy Salit: We human beings all have an innate ability to perform, to project, to imagine, and to play. This ability is something we are able to exercise effortlessly as children. We play mommy and daddy and different superheroes, on different planets, different animals, and so on. It’s something that is not just a cute and wonderful thing about childhood; it’s also a very big part of what enables children to learn and to grow. But what happens is, at a certain point in our childhood, all that playing and all that experimenting gets pushed to the wayside, and now it’s time to learn and behave and to get things right. This is for a good reason, in the sense that you don’t want to play and experiment with how to cross the street. But we end up minimizing the part of ourselves that can, and should, and could continue to play and experiment. We develop our identities, our personalities, and define ourselves by our profession, who we love, what we like to do. Performance Breakthrough proposes that what it means to grow–to keep learning and keep developing–is to combine who we already created ourselves to be and who we are not yet.

TBD: With a lot of authors, especially of nonfiction, the first thing they say is, “I’m not a writer.” Either they’ve had careers that they’re writing about, and that career has not been writing, or they are people who have always dreamed of writing a novel, but they have a day job, et cetera. Using the principles of Performance Breakthrough, how does one take on the role of “Writer” while thinking that you are not one?

CS: What if they don’t have to own that they’re a writer? What if they just pretend to be a writer and not worry about whether they really are? A helpful concept is to creatively imitate writers, and that can include learning more about what it means to be a writer. One of the many, many things that I did to put myself in the zone of being a writer was reading books about writing by writers, like Anne Lamott and Stephen King, and creatively imitating and doing what they said to do. Number two, as a performer, I’m a talker. I’m a speaker. I pretended to trust that I could just write down what I would say, and that would be enough to get started.

TBD: Today, being a writer means more than just writing. It means being a salesperson, a publicist, a marketer. Many of these jobs are completely the opposite of what most writers want to be doing. Many writers are introverted and are not comfortable in these scenarios of having to publicize and market and sell their work. We’re curious about how you would talk about using the ideas in Performance Breakthrough for adopting these roles.

CS: Yeah, it’s hard! I am a salesperson. I am a marketer. And I find it hard. You can think about it as a scene in a new play that you’re in where some scenes are alien to you. Give yourself some lines to say. Those could include: I’m not used to speaking in public. I’m not used to doing podcasts, or being on the radio, so bear with me. You can be playful and honest about this not being your natural habitat. You don’t want to do that endlessly, but it’ll help make you feel more comfortable. Also, it will lower your expectations and relieve some of the pressure.

TBD: Do you have any advice for people who, like you, are translating a lifetime of work to the page?

CS: What occurs to me is the importance of voice. This might seem contradictory, but you can never stop being who you are. If you’re trying to put onto the page your passion, your work, don’t let the fact that you’re putting words on a page and having to use a medium that is maybe not your natural habitat rob you of your voice. Find a way to still be who you are, even while you’re being who you’re not. It’s back to our philosophy that you need to be both. You’re not just being who you’re not. You’re being who you are, too. It’s got to sound like you. It’s got to feel like you. You don’t have to impress anybody. One of the biggest compliments that I’ve gotten for my book is that people feel like they’re in the room with me. Perhaps that’s particularly important for my book because our work is of such an experiential nature.

Cathy Salit is the CEO of the innovative consulting and training firm Performance of a Lifetime and author of PERFORMANCE BREAKTHROUGH: A Radical Approach to Success at Work (Hachette Books). She is a speaker, facilitator, executive coach, instructional designer, and social entrepreneur. Cathy performs regularly with the musical improv comedy troupe the Proverbial Loons and, less frequently, sings jazz and R & B on any stage she can find or create. She lives in New York City.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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book cover of "Beer Money: A Memoir of Privilege and Loss" by Frances Stroh

Frances Stroh on Writing, Getting Published, Beer, and Beer Money

David first met Frances Stroh when he read on the same bill as her during a Litquake event in a bar in San Francisco’s North Beach that stank of beer. When he found out who she was and what the book was about, it seemed weirdly appropriate. Besides being a wonderful artist and writer, Frances is also part of a family that made wildly successful and popular beer for many decades. And then all the beer money dried up. And so she became yet another version of the American Dream: family dreams of making a fortune in the beer business, family makes a fortune in the beer business, family loses a fortune in the beer business. And now she’s written a memoir to prove it. Since her book, Beer Money, just came out, we thought we’d pick her brain about alcohol, money, family and writing it all down.

Read the interview on the Huffington Post.

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The Book Doctors: First of all, why in the name of all that is good and holy did you decide to write a memoir?

Frances Stroh: I’d been working on a novel set in the late nineties New York art world about an artist protagonist whose family had lost their wealth. It was a true work of fiction but echoed some of the themes in my own life. Deep down I knew the real book I needed to write was my own coming of age story as an artist as it related to my family’s tragic decline, and the door to do this opened in 2009 when the family company announced that dividends would end because the company was broke, followed a few months later my father’s sudden death. My father had appointed me as the executor of his estate and as I combed through his many collections of antique firearms, vintage cameras and guitars, and stacks of artwork, preparing them for auction, a maelstrom of memories was triggered. These memories of the complex dynamics behind the painful events in my family eventually became the book.

TBD: What books did you love when you were growing up?

FS: I devoured everything by Hemingway and Fitzgerald in high school, as well Tom Wolfe and all the Beat writers. Around that time I read a biography of Edie Sedgwick by George Plimpton that was as much about Andy Warhol and the Factory as it was about Edie, and this book hugely impacted my view of art and what it could be.

TBD: How did you learn to be a writer?

FS: In the very beginning, I studied with writers whose work I deeply respected–Tom Barbash and Julie Orringer. Their influence on my development was immense. Then it was time to just do the work, one early morning writing session at a time, followed by a late morning session, and an afternoon session. I kept reminding myself of Woody Allen’s famous line, “Eighty percent of success is just showing up.” In my case, this meant showing up at my desk physically and emotionally–being present.

TBD: What was your road to publication like?

FS: Surprisingly smooth. I had put in a good deal of work on the book to get it in shape, working with an excellent freelance editor–Zoë Rosenfeld–before sending out to agents. I signed on with the amazing Rob McQuilkin one week after I mailed him the manuscript. A month later we sold the book to HarperCollins at auction. I was extremely fortunate. At Harper I worked with Jennifer Barth, for whose keen eye and sensitivity I have a deep respect. From beginning to end, the publication experience has been very positive, down to all the renowned authors with whom I did my “in conversation” events on my book tour.

TBD: Did your work as a visual artist influence your writing?

FS: I explore issues of identity, point of view, and the mythologies that define us across all media, and the family video installation piece I describe in the prologue of the book was really the genesis for the memoir. The seeds for the memoir were also present in the high school application essay I describe in the book, where, as a thirteen-year-old, I write about my brother’s drug bust and how it affected my family. I think the writing and the visual work influenced each other in the sense that the same themes kept coming up, no matter the medium. Writing the memoir was a way to deepen my exploration of these themes.

TBD: How did being a member of the San Francisco Writers’ Grotto help you in your development as a writer?

FS: I waited to join the Grotto until I was finished with the book, and yet the support I have felt as a member of that community while bringing the book into the world has been huge. There’s truly no replacement for working among and socializing with seasoned writers who have been down the road one is about to embark on. I am very grateful for the friends I have made at the Grotto and the immeasurable impact they’ve had on my path as a writer.

TBD: When David’s first memoir, Chicken, came out, his family basically didn’t speak to him for five years. Have there been any repercussions from your family about writing a story in which many of them are characters?

FS: I published a chapter of the memoir two years ago with Shebooks, a publisher of short ebooks by women writers based in San Francisco, to the applause of everyone in my immediate family. My brother told me it read like a “modern day version of The Catcher in the Rye.” Since then, my mother has been a huge champion of the memoir, rallying her friends with galleys and attending many of my book tour events. The extended Stroh family, most of which are not in the book, have been quieter on the subject, but some have sent letters of praise and support and attended events as well. Overall, I feel the reception of the book has been positive.

TBD: Between the two of us, we’ve written, agented, publicized, and performed more memoirs than we care to remember. What were some of the joys and difficulties of taking the seemingly random events of your life and turning them into a plot with a beginning, middle and an end?

FS: I view the memoir as a love letter to my past, and a book I needed to write in order to reconcile with that past. Throughout my life the tension of one challenging event had built upon the next one with no outlet. From an early age, I was told that it wasn’t okay to talk about money, family difficulties, or anything of any import. And all the while these idealized photos of the perfect American family were piling up all over our house. My father’s photographs now seem haunting in the context of my truth-telling narrative, a juxtaposition in the book I view as a wonderful collaboration between my father and me. By reconstructing the past through the writing of the book I was able to reclaim many of the feelings that I’d had to push aside through the years, feelings I hadn’t been able to feel at the time because the events that triggered them were too taboo to talk about, such as my brother Charlie’s decline into drugs and eventual death. As I wrote the book, patterns began to form, links that connected events that had never before seemed connected–such as the simultaneous unraveling of my family, our business, and Detroit. A new kind of understanding took hold within me. I call it “strange alchemy.” Only through the writing of the book did I come to see how these links were all there, all along, on a somewhat epic scale, making the story of the family, our livelihood, our hometown, and our shared destinies a kind of American story. It became something bigger than my own personal story, while at the same time it’s told in a very personal voice.

TBD: Do you have any advice for writers?

FS: Find the voice that wants to tell your story. Once your narrator is there, the book will essentially write itself. All you have to do is show up at your desk, every day, and give that voice free reign. And don’t think about any kind of an end goal. Following that voice, and the writing itself, is the real reward.

Frances Stroh was born in Detroit and raised in Grosse Pointe, Michigan. She received her B.A. from Duke University and her M.A. from Chelsea College of Art in London as a Fulbright Scholar. She practiced as an installation artist, exhibiting in Los Angeles, San Francisco, and London, before turning to writing. Frances is a member of the San Francisco Writers’ Grotto, and her work across all media explores issues of identity, point of view, and the mythologies that define us.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Lin Oliver, children's book, Fantastic Frame series, "Danger! Tiger Crossing" book cover

Lin Oliver on Books, Publishing and How to Write for Kids

We first became aware of Lin Oliver when we presented at the annual New England Society of Children’s Book Writers and Illustrators Conference. We learned she had co-founded SCBWI, and we kept hearing what a wonderful writer, great businessperson and generous human she was. So now that she’s launched her new book series, The Fantastic Frame, we thought we would pick her brain about books, publishing, writers groups and how to get successfully published.

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The Book Doctors: We often coach writers in marketing their work. As a writer, film producer and executive, when do you begin to think about marketing? When do you start thinking about the audience, who’s going to read and love this idea?

Lin Oliver: The traditional view of the author is that we’re somehow sequestered in a cabin by the lake expressing our deepest truths. There’s still that general view when you talk to publishers. The advice is, “Write your best book and the audience will come to you.” But that’s actually a very Ivory Tower kind of view. We’re all writing to express ourselves and also to reach an audience, so you have to think about who the audience is.

It helps me to imagine an actual classroom of kids or myself at that age. Because I’m writing for children, I do want to know in whose hands this is going to wind up. It’s almost a creative question, but it turns into marketing real fast. When I’m conceiving a book or series, it is important for me to know, “Who am I trying to reach?” I have very specific goals in mind.

TBD: Do you feel that being in the world of Hollywood and working very closely with combining image and word has helped you as an author?

LO: Oh, a 1,000%. My training was writing television. It’s not only combining images and words; it’s looking at pace. You can’t assume that your audience is staying with you, so you have to create a pace that is lively, moves along quickly, and has cliffhangers built in. I was writing television before people started binge-watching HBO and Netflix, so you had to actually bring people back after a commercial. You’re trained to keep a good pace going and to keep them wondering. The question is, “Well, then what happens?”

The other thing that came from television is dialogue. I had to learn how to write narrative when I started writing novels because I was trained in writing dialogue. A lot of great picture books have come from people who’ve worked in television or animation because they’ve been trained that the image tells the story as much as words.

TBD: We often hear, “My book really picks up after page 25.” What advice would you give to writers with this syndrome?

LO: My strategy is to write the first pages and then cut them all. Bruce Coville, who’s a wonderful children’s book writer, always refers to “literary throat clearing.” You spend the first few chapters gearing up. The rule that we all follow is to start as close to the action as possible. The old rule is to begin on the day it’s different. My rule is to begin most of the way through the day it’s different. We don’t have long with kids, only a few pages. They need to be engaged.

Exposition is a killer. You feel like your readers need all the information on everything, but they don’t. It’s so much more effective when it’s natural to the scene. If you look at movies, you don’t really know what’s going on during the first ten minutes. You’re not quite sure how it’s all going to fit together, but you’re willing to go with it because it’s exciting.

TBD: Lots of people who are trying to get their kids’ book published write books that are didactic in nature; they misunderstand what kids want to read and what publishers are looking for. They pitch their book by saying, “Here’s a lesson for all you kids to learn.”

LO: That never works. Anyone who’s ever been a parent knows there are two surefire ways to clear a room: one is try to teach them something weighty, and the other is to reminisce. Both of those are problems with beginning writers, and neither one is the right frame of mind. This isn’t about sentimentality and nostalgia, and it’s not about teaching a lesson. It’s about entertaining and telling a story.

Take, for example, the series I’m working on now, The Fantastic Frame. I love art history. It’s enriched my life in every possible way, and it’s not taught in schools. Part of my motivation was to introduce the idea that art is going to make you happy. It’s going to make you richer and deeper, and it’ll give you pleasure. That’s not really didactic, but it’s a value that I hold. And that, I think, is the difference. These stories are all adventures. The old lady next door has a frame that sucks you into a great painting. You have an adventure inside a Rousseau, a Seurat, or a Edward Hopper, but I’m not there to teach you about color theory, art history, or the role of Edward Hopper in American Realism. We’re inside the painting so you can feel what it’s like to be in shadow and in light. You’re learning things, but you’re having an adventure first. If it’s not exciting and edge-of-your-seat adventuresome, then it’s not going in there, regardless of how much it might have to do with art history.

Lin Oliver, Splat! Another Messy Sunday jacket art
There are so many writers who focus on craft, and they actually get pretty good. They can write a good dialogue scene, or they can structure a plot so it doesn’t sag in the middle, but first, they must have something to write about that they care about passionately. That’s what I see is missing from a lot of people who are polishing their writing. They lose the beating heart of it. What motivated you to spend this amount of time writing those words and learning to write those words? That’s not a didactic lesson, but it is a heartfelt something, a remnant of you that you want out in the world.

TBD: When we first published our book, The Essential Guide to Getting Your Book Published, ten years ago, we called it Putting Your Passion Into Print because we feel exactly like you do. You can write the most beautiful sentence, paragraph, chapter in the world, but if there’s not a passion underneath it, why bother? Readers, viewers, and human beings respond to passion. They just do. So what’s next for you?

LO: The Hank Zipzer books, which I write with Henry Winkler, are now a series on the BBC. Henry and I also wrote four books in the Ghost Buddy series, and Amazon optioned them and had us write a pilot. They didn’t buy it, so it goes in the list of developed but not produced. We’re just going back into that, getting the notes from 27 different people, the ‘German Markets’ or whatever. It’s really nice to sit at your screen and write something you think is going into the hands of the right people.

Lin Oliver is a children’s book author and writer-producer of television series and movies for children. With Henry Winkler, she writes the New York Times best-selling book series, Hank Zipzer: World’s Best Underachiever, which has sold over 4 million copies and is a hit television series on the BBC. Their new chapter book series, Here’s Hank, is also a New York Times best-seller. She is also the author of the Who Shrunk Daniel Funk quartet, Sound Bender and The Shadow Mask, adventure/science fiction middle grade novels she coauthored with Theo Baker. Her collection of poetry, the highly praised Little Poems for Tiny Ears, illustrated by Tomie dePaola, is being followed with another poetry collection, Steppin’ Out: Playful Rhymes for Toddler Times. Her new chapter book series, The Fantastic Frame, debuted in April of this year from Grosset. Lin is the co-founder and Executive Director of SCBWI. Learn more at www.linoliver.com or follow Lin on Twitter (@linoliver).

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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JoAnneh Nagler, How to Be An Artist Without Losing Your Mind, Your Shirt, or Your Creative Compass, book cover

JoAnneh Nagler on Poor Artists Monetizing, Dostoyevsky and How to Get Published

We met JoAnneh Nagler a few years ago. She was such a charismatic, wise, energetic evangelist for artists looking to become better business people and make better financial choices. Now that her new book, How to Be an Artist Without Losing Your Mind, Your Shirt, or Your Creative Compass, is out, we picked her brain about books, writing, art, money, and whatever else we could get out of her.

Read the interview on the Huffington Post.

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The Book Doctors: You do so many creative things in your life: writing, music, fine art. Where did that creative impulse originate?

JoAnneh Nagler: I realized I was artistic at about the age of seven. When I think about where my well of creative impulses lives inside me, I immediately think of the brilliant Dostoyevsky quote, “Beauty will save the world.” I guess that’s what I’m up to in my art life–to create more beauty in the world.

What’s telling, though, is that when I was growing up and becoming an adult, I didn’t think to value my creative gifts above my brain, or give myself permission to develop those talents so I could share them in a serious way. “Artists are poor,” I was told. “They fight with their families about whether or not to do their art, and they usually end up giving it up to raise a family or get a job.” That extreme thinking caused a lot of suffering in my life, until I found a way to live as an artist without losing it, quite literally.

In my book, How to Be an Artist, I use the term “artist” in the broadest sense of the word, encompassing all of the entrepreneurial stuff that creative people do. That means painters, writers, sculptors, musicians, actors, but also gallery owners, new-millennium bloggers, designers, inventors–you name it. And that’s important because there are millions of us creating with ambition. We’re not hobbyists.

Hence, the theme of my book: we need to give up the extreme thinking that we either have to starve or be a multi-millionaire in order to live a creative life. We need a new model of balance that helps us live a decent life and make art at the same time. That’s what I’m up to in my life and in my book.

TBD: How did you first become a published author?

JN: The road to becoming published began, for me, with an act of service. I had no real ambition to write a personal finance book. I had fallen on my face with debt, and I came up with a simple, five-minute-a-day plan to live debt-free–something so easy that I could keep my head in it without checking out. I started sharing it with friends, and my best friend came to me and said, “You need to write this down. This saved my marriage.” So I sat down to see if I had anything to say, and I wrote The Debt-Free Spending Plan.

Writing to be of service was the key that led me to the How to Be an Artist book: understanding that creating is unlike anything else we do in our linear timeline. It requires blocked out hours where we can explore in an undisturbed way, where we can craft something from scratch and experiment. It requires learning how to be of service to our artistry, and that means grabbing hold of a few tools we can apply simply and easily that will help us get our hands in our art.

TBD: What did you learn from your first book, The Debt-Free Spending Plan, that you were able to apply to your second book?

JN: I learned that if I’m going to offer helpful insights to readers, then I need to make them easy and practical in the real world. I want everything I offer to be workable in crazy, pressure-cooker, swirling lives. I’m essentially writing from my own failings in my books–from the stuff that I fell on my face over in art, money, time, motivation, love, crafting a life–stuff that had me face-first on the sidewalk sometimes. Now that I know how to navigate some of this stuff from having learned it the hard way, I’m hoping to offer a short-cut, a painless path for others. I’m offering easy-on-the-soul tools to help us get to fulfillment faster and with less pain than I experienced.

When I wrote The Debt-Free Spending Plan, I had no idea if anyone would publish it, so I wrote one hour a day, four days a week. I was beginning to practice what I now preach: that is, a balanced life, with a “slow, steady steps” approach to making art. That’s an important point about writing non-fiction for me: I had to live the principles I was writing about, both for the debt-free book and the art book, and I had to write from a place of my frail and flawed humanity.

For instance, I loved the 1990s books on artistic process that asked me to write in a journal every day, do ramp up exercises, even do my mending when I’m blocked, but realistically, I don’t have that kind of time. Most of us don’t. We have day jobs and families and crazy-busy lives, and we need practical strategies to get to our art quickly or we won’t get there at all.

So that’s what I crafted in How to Be an Artist: tools for managing time, work ethics, motivation, balancing a day job–even money clarity–so we can get to the stuff we love right now. I figured out for myself that it’s not the glory-outcomes that put me at ease when I’m pressed to create something; it’s getting my hands dirty, in my art, on a day-to-day basis.

TBD: Is this a cliché, or have I really noticed that many people who devote their lives to the creative arts seem to be not very good with money?

JN: It’s not a cliché. It’s true. But it’s not true because we artists are flawed individuals who flounder because we can’t get it together long enough to address our money or our lives. The truth is, we’ve been schooled in completely insane and culturally-wacked ideas about what it means to live as an artist, and we instill them in both kids and adults.

We’re told that if we’re a “real” artist, we should be willing to starve and struggle–tanking our life, essentially–in order to make art. And that doesn’t work. We’re sensitive creatures, and struggling is like running too much electricity through already delicate circuits–it sucks up all of the air in the room for making art, and it ruins our life, too.

The other end of the pendulum swing is the myth that a “real artist” is someone who’s had instant multi-millionaire success or has a grandmother’s trust fund to live off of and doesn’t need a day job. All of that is bunk.
Here’s the definition of a real, working artist: a person who works on his or her creative work on a regular basis. That’s it.

That’s the whole premise for my book–that we can learn how to put supports under our feet, live artistically, and have a decent life–not just for now, but for years of our life.

Specifically, regarding money, we artists need simple clarity–not so we can be good little corporate citizens or work on our credit scores, but so we can buy ourselves time. Money clarity buys us time; that’s the simple truth. It offers us the support we need when the call comes to go to South America for three months and teach music, or the inspiration comes to craft a 16 by 20-foot installation piece and we need to buy supplies. It allows us to answer our own artistic callings, plain and simple.

What we want to build is an artist’s life. Not a flash-in-the-pan idea that we’re praying is going to save us from having any more responsibilities in the outside world. So we have to give up the ‘kick-starter’ idea of making an instant, uber-splash and banish all of that cart-before-the-horse hype that says “do what you love and the money will follow.” All we own as an artist is our labor. We have no control over how the world will receive our gifts because we are blazing a brand new trail every time we create. But that’s why we do it. It’s all on us for one simple reason: no one else can replicate our own, exquisite creative voice.

TBD: Why do you think we live in a society where so many creative artists are asked repeatedly to give their work away for free?

JN: I think there’s an identity issue wrapped up in this question. For example, a friend of mine likes to say, “I’m a potter, and I fix cars to support myself.” That’s a very different definition than saying he’s a mechanic and does a little pottery “on the side.” And that definition affects what he charges for his work and how he approaches showing it. He is a professional potter. And he does something to support himself that he can live with. That’s the framework we need to make art over time.

We need to own our identity as an artist. When we do, it tends to make sense of our life choices, our day job, our timelines, and helps us professionalize our work as well. Why do we care if our work is professionalized? Because when we take our artwork out into the light of day we get more than a chance to sell it: we get feedback. We see how it lands on other people’s hearts. We see its value. We learn how to tweak and adjust and get better at expressing.

When I wrote my first music CD, I really didn’t know much about song structure and I had a tendency to over-write musically. I don’t think I was even aware that I was songwriting in the Americana-folk-pop tradition. By my second CD, I knew who I was writing for, and I knew how to get to the form quicker. That professionalization helped me finesse, and it guided me on how to value the product.

I had a mentor who asked me to monetize all the skills I learned songwriting, laying down tracks, co-producing, editing, supervising the mixing, and marketing that CD–meaning, I had to put down a dollar value of what those skills were worth in the outside world. And it woke me up–it was worth hundreds of thousands.

I’m saying we have to get better–and we will as more of us bring our work into the light with a solid support structure under our feet–at finding ways to pay artists, ways to earn. We are beginning to think more entrepreneurially, and as we get clear about our personal time, money, life structure and goals, we will learn the value of investing in the stuff that earns.

TBD: Follow-up: What do you advise artists do when someone keeps asking them to work for free?

JN: I do a lot of different things in my art life. I make music CDs; I paint large abstracts; I write plays, travel articles, and books. I still have things I’m dying to do: design clothes, for instance, and write novels. But I don’t know which ones are going to pop. All I know is that I need to answer the call when it comes, or I quite literally start getting agitated and dissatisfied in my daily life. (I have learned this the hard way.)

What I do now is set up my life like school: a handful of hours for my day job, a handful more for my family life and health, and then I map out the rest–my “flex hours,” as I like to call them–with the creative things I want to get my hands in. I never know which ones are going to earn. But if I’m supporting myself well with a day job or a situation I can live with–one that’s not creating struggle or angst in my life–then I’m free to explore whatever I choose to explore, and the results can take their own course.

That doesn’t mean I don’t lobby for the best earning power I can command, based on my work. What it does mean is that I’m not in a rush anymore to insist that my projects instantly deliver a payoff. I don’t use debt anymore, so I’m not pressed financially and I’m not desperate. I can choose whether I want to give away something to get exposure, or wait and hold back until my art pieces generate the kind of value-field I’m looking to play on.

I’ll give you a great example of this approach. As I said before, I wrote my first book by writing one hour a day, four days a week, and it took me a little over a year and a half to finish it. No rush, but not that long in the scheme of things, right? I was just setting aside some time to see whether I had something I really wanted to say. I also worked a couple Sunday afternoons a month recording music, and I wrote travel articles a handful of hours a month. That sounds like I’m just crazy-motivated, since I have another job teaching yoga, too, but it really was the use of a simple tool–a time map I describe in my book–that got me into the things I wanted to explore.

Without the intense cart-before-the-horse pressure to perform that I used to put on my creative work, my projects get a normal growth arc, like a kid. We can’t expect our artwork to save us in instantaneous glory, or to have the maturity of a twelve-year-old when it’s only a two-year-old.

Art needs time. It’s not a paved path to “success,” like going to medical school or getting a computer science degree. As artists, we’re building the path as we go. Yeah, it’s a drag that we sometimes have to give away stuff to get exposure. But when we’re supporting ourselves well already, we can choose to play in that pool–or not–depending on what our personal goals are. The point is, we’re building something, and that building takes time. We have to be willing to let that growth arc happen, and the way to do that is to put steady supports under our feet while we’re creating.

That’s a roundabout way of answering your question, but it’s the heart of it, I think. Simply put, our pleasure lives in living the life of an artist, not in the outcomes. We deserve to have that pleasure, and we can learn how to support it.

TBD: How do you personally juggle being an artist and entrepreneuse?

JN: I’ve had to get good at this, and it did not come easy–not by a long shot. I spent years burying my artistic gifts in business jobs, then, on the other extreme, quitting and living on my credit cards because I hated my life without art. I was a victim of the pendulum-extremes of our artist stereotypes, either by underearning and starving, or by burying my art. I was unhappy a lot and terribly frustrated because I couldn’t figure out how to live with my gifts.

When I started taking the art life apart, the first thing I had to do was get a day job I could live with. That meant giving up the fast-money, “important” grant writing career (which was bringing me all kinds of grief and frustration) for a more humble yoga-teaching job, which ended up working incredibly well with my writing life. (It makes me get up from the screen and move around.) It meant I had to learn to live on less money and within my means so I could buy myself time to work on whatever I wanted to work on.

Then, with that foundation under me, I had to learn to set aside regular time for creating while having a job and a life. I use a time map that I can sketch out in five minutes, which I share in the book, which gives me moderate goals and buffer zones in case everything goes to hell and tanks my art time. I separate out the hours for creating and the hours for marketing, noting that though we’re all hyped up on it, tweeting twenty times a day is not creating art. It’s a different animal. I need the animal that calms me down–and that’s my art.

I want to keep increasing my earning power, but I need to be content while I’m at it–to give up angst-filled jobs and pressure-cooker situations and craft a life I can live with without getting nutty or being angry.

TBD: What gives you more pleasure, to write a great song or to make a shitload of money?

JN: Both. Truly, when I make money at my artistry–even small amounts–it gives me pleasure because it’s a validation of following my own guidance in the world. I’m being recognized for what I’m offering. But I can’t work from an outcomes-oriented perspective. That’s the point of setting aside time to craft art. I have to silence all of the outside voices–including the need to “succeed” monetarily–so I can hear the callings inside me and get them out. I have to work in both the ethereal, spiritual world of creating art and the practical, feet-on-the-ground realm of the birthing something onto the earth.

I’m not clueless though: I know that I’ve chosen to walk a path very divergent from what most other people walk. I’m ambitious, so even as I’m writing my “how-to” books, I see the arc of what I’m doing. I’m building a library of ways to help others with the stuff that made me fall on my face–hopefully in a very human tone with all of my failings and frailty present in the text–and my prayer is that it’s giving readers shortcuts for an easier walk than mine. My painting and my music are all about finding an intuitive kind of beauty, things that are not intellectual and encourage me to feel and intuit, rather than think. In all of it, I find, I’m coming to some kind of happy acceptance with being human.

Though my ambition certainly involves earning, and sharing, what’s at the heart of it is what my dear friend Mary Ellen (now about 97 years old) said to me once. She said, “See the faces of the people you’re going to help, the hearts that will be lifted up from your work.” That’s why I do what I do. And I support it with everything I need that will keep me in it for the long haul, for a whole life of this work I love.

Cheryl Strayed said, “We are here to build our own house.” I need–with all my heart–to have my house be a unique creation of my own hands, an un-replicated experience of what’s inside me. Who can say why I’m wired this way–to need this expression? I don’t know. All I know is that it presses on me, as if I’m pregnant with it, and I have to get it out. It’s what makes me happy and content.

TBD: We hate to ask you this, but what advice do you have for writers? And what advice do you have for artists who don’t want to lose their minds, shirts or creative compasses?

JN: I was the all-or-nothing girl for years: giant, swooning risks awaiting big-splash results that were supposed to lift me out of the bonds of daily life and responsibilities. I believed that if I loved my art enough I would be visited by glorious, save-me-in-a-moment success. Now I know that I have to build success, stone-by-stone, step-by-step. I have to craft the life of an artist first, support it, and then build on it, year-by-year. Since I’m an adult, I have to have a life while I’m doing it.

My advice for writers–and for all artists, really–is to stop over-expecting. To begin to apply the slow, steady steps approach to art–well supported, with permission to explore and discover and fall in love with the creative forces inside us. To live in balance, and to give ourselves the dignity of learning how. To give ourselves room to get what’s in us out, bringing the beauty of our art into our own soul, and then out into the world.

Our artist’s job is so clear: we are here to reflect back to the world the crazy, messy, lovely, challenging, exquisite beauty of what it is to be alive in our time.

I believe that happiness is in our own artistic moment. When we measure our success and wealth by our ability to get our hands in what we love, regularly and steadily, we are well on our way to building a heaven on earth.

JoAnneh Nagler is an author, painter, musician, and yoga teacher. She is the author of the new book How to be an Artist Without Losing Your Mind, Your Shirt or Your Creative Compass, and the Amazon Top 100 Book The Debt-Free Spending Plan. Find her at: www.AnArtistryLife.com

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Fauzia Burke, author of Online Marketing for Busy Authors, standing in front of bookshelves

Author Websites, Blog Tours and Reader Demographics: Fauzia Burke Gives the Skinny on Online Marketing for Authors

When we wrote our book, The Essential Guide To Getting Your Book Published, the first person we asked to interview on the subject of online marketing was Fauzia Burke. Fauzia founded the pioneering online marketing firm FSB Associates and has been figuring out how to promote books on the World Wide Web since before most publishers and authors had ever performed a Google search. She’s worked with everyone from Alan Alda to Sue Grafton, promoting books across categories and genres. Her new book, Online Marketing for Busy Authors, is just the primer every writer needs to understand and make the most of online marketing today.

Read the interview on the Huffington Post.

 

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The Book Doctors: How do you figure out who your audiences are? And how far should you reach when determining multiple audiences?

Fauzia Burke: Understanding your readers is crucial because it will help you devise the best online strategy for you. Online marketing is customized and personalized. It is essential for you to know your audience so you can serve them best. You should know their age group, gender, interests, which social media outlets they use and where they hang out online. The more you know about them, the better your marketing will be. In my book, I have a worksheet to help authors refine their audience so they can market for their readers.

Some questions include:

  • Is your reader male or female?
  • What is their age range?
  • What TV shows might they watch?
  • What are some common values or traits of your ideal readership?
  • Does your audience have a problem, concern or frustration that your book seeks to solve?

The identification of your ideal readers will play a major role in the quality of your online marketing plan.

TBD: How do you figure out where your audience lives online once you determine who they are?

FB: There are many sites that give you social demographics of each social media site. I use Pew Research and Sprouts Social. For example if your audience is women, you are more likely to find them on Pinterest. Younger users tend to use Instagram. Another good place to start is to look at who is already following your social media sites or visiting your website and aiming for networks that draws a similar audience. You can use Facebook Insights, Google Analytics, Twitter Analytics, etc.

TBD: Is an author website an important part of a publicity/online marketing plan?

FB: Websites are a crucial link between you and your readers. It is the one place, the hub, of all your activities. Your website is your opportunity to connect with your readers in a personal way. It is also where you have full control (unlike other social media sites) over your brand. Not having a website could be viewed as unprofessional, out-of-date, and not connected.

Despite popular belief, your website doesn’t have to be expensive or complicated. You can keep it simple. WordPress is often recommended as a platform because it’s author friendly, easy-to-use and easy for people to find (has good search capabilities). Keep one thing in mind: It’s better not to have a website than to have an unprofessional one. If you have a website, make it good one.

TBD: Do authors have to blog?

FB: I consider blogs (like websites) the foundation of a digital strategy. Not only do blogs give authors the opportunity to stay connected with their readers, they also position the author as an expert. Blogs are also the absolute best way to drive traffic to websites. For book authors in a competitive marketplace, the need to blog couldn’t be higher. Consider the time you spend blogging as an extension of your job as a writer.

Blogging is a great way to share your knowledge, test how your content resonates, and collaborate with others. While experts may disagree on how often you need to blog, consistency is the key.

TBD: Do authors have to be on social media?

FB: I think every author has to make that decision for themselves. No one should be on social media if they don’t want to be or are only doing it to sell books. Social media gives authors an unprecedented opportunity to build a brand and create a community of readers. Here are some dos and don’ts that might help:

  • You don’t have to do everything
  • You don’t have to do the next shiny thing
  • Look at the data for feedback (your digital footprint) and adjust accordingly
  • Know your audience
  • Don’t forget it’s a privilege to talk to people
  • Be authentic
  • Go for engagement

TBD: How important are author profiles on sites like Amazon, Goodreads and LinkedIn?

FB: I think they are all important to some degree. We should all have a completed profile on each site. Every author should grab their Amazon author profile. I think Goodreads is more important for fiction writers and LinkedIn is more important for non-fiction writers.

TBD: How should an author go about setting up a blog tour?

FB: If you are doing your own publicity efforts, consider developing an ongoing dialogue and relationship with the bloggers that cover your genre and niche. Share their information and be generous. Everyone appreciates a digital nod these days. Help them before you need their help.

Once you have searched the blogs that are appropriate for your book, you can pitch them a book for review or offer to do a Q&A or to write a blog that is appropriate for their audience. If you get some responses and the editors/bloggers request the book, your pitch is working. If not, you’ll have to try another pitch. Try connecting your book to something in the news or a new study. When you do get a response, pounce on it. Attention is fleeting and you don’t want to wait. If the editor/blogger asks for a book or an interview, accommodate them right away.

Then in a couple of weeks, follow up and make sure they got the book and ask if there is anything you can do to help. That’s the cycle. It’s not difficult. It’s not rocket science. However, it requires lots of time and patience. Contacts with the media are worth so much because a publicist’s relationship with an editor will cut the time and boosts your chances of getting a feature. If you are willing to put in the time, you can build the same contacts and relationships within your niche.

TBD: If an author has zero experience with publicity and marketing, what is the number one piece of advice you’d give him/her to get him/her going on the right path?

FB: I wrote my book, Online Marketing for Busy Authors, for just those authors. I hope that by giving them clear advice and priorities I have made things a bit easier on them. Here’s some advice:

Take heart and approach marketing with curiosity. If you are a overwhelmed by the rapidly changing world of online marketing, you are not alone. Remember all of us, experts and novices, are learning as we go. You don’t have to become a social media strategist to be effective.

Fauzia Burke is the founder and president of FSB Associates, an online publicity and marketing firm specializing in creating awareness for books and authors. She’s the author of Online Marketing for Busy Authors (Berrett-Koehler Publishers, April 2016). Fauzia has promoted the books of authors such as Alan Alda, Arianna Huffington, Deepak Chopra, Melissa Francis, S. C. Gwynne, Mika Brzezinski, Charles Spencer and many more. A nationally recognized speaker and online branding expert, Fauzia writes regularly for the Huffington Post. For online marketing, book publishing and social media advice, follow Fauzia on Twitter (@FauziaBurke) and Facebook (Fauzia S. Burke). For more information on the book, please visit: www.FauziaBurke.com.

 

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John Dufresne, author, creative writing professor

John Dufresne on Writing, Getting Published, and His New Book: I Don’t Like Where This Is Going

We live in Montclair, New Jersey. John Dufresne lives in southern Florida. So naturally, we met him at the South Dakota Festival of Books. We were sitting next to him waiting for people to show up to sign our books. Let’s just say there wasn’t a huge line. Normally, this would really be a downer, but this time we realized it was good luck because we got the chance to talk with John.

John has had a long and distinguished career as a writer. He also teaches writing. Now that his new book, I Don’t Like Where This Is Going, is out, we picked his brain about writing, books, publishing, and life.

To read the full interview on the Huffington Post, click here.

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The Book Doctors: When did you first start becoming a writer, and how did you learn to be one?

John Dufresne: I was a storyteller first, even if I didn’t know I was. My father told me a bedtime story every night. Fairy tales. Only I thought he made them up because he had no book. I thought he invented wolves. He may be why I loved stories and wanted to make up my own. I had a couple of narratives going when I was seven or eight or so in which I was the central character. They both took place in my neighborhood. In one I was the leader of a band of good guys with white hats and spirited horses. Cowboys on Grafton Hill in Worcester, Mass. The only real horse we ever saw on the Hill was the ragman’s nag, whom we loved to pat. Every night in bed I continued the story from where it ended when I had dozed off the night before. I did this for years. And during the day, I was thinking of what I would now call plot points and creating new characters. The other narrative was similar with me as a sports hero. Whenever I heard sirens, I imagined the house the fire trucks were heading for and the people trapped inside the burning house and how they would be saved. Or not.

TBD: What were some of your favorite books as a kid, and why?

JD: I grew up in a house without very many books. We did have 26-volumes of the Universal Standard Encyclopedia, bought for 99 cents a week at the A&P on Grafton Street. I read them in order, not quite thoroughly. One month every subject I talked about at the supper table began with A. Afghanistan, alligator, antbirds. With volume 13, it was everything between Idaho and Jewel Cave. I loved information, loved knowing the names of things. I didn’t much like the stories we read in my grammar school, stories about kids who had horses and good fortune. I couldn’t find anyone like me, someone who grew up in a housing project, in them. Then I happened on a series of books that I devoured, the Chip Hilton series for boys, written by Claire Bee. I think it was David Mamet who described drama as two outs, bottom of the ninth, man on first, 3-2 count, and your team down by one. That describes Clutch Hitter, a book in the series that illustrated to me, the little jock that I was, how exciting, compelling, and tense a story could be.

TBD: Your new book, I Don’t Like Where This Is Going, is a wild, wacky ride that fits squarely into the noir tradition, but it seems to break as many rules as it follows. How did you get the idea for the book, and does writing in this genre inform how you work?

JD: I found a character I liked in a short story I wrote. I wrote the story, my first bit of crime fiction, on request. The character was Wylie Melville, a therapist and police consultant; the story was “The Timing of Unfelt Smiles,” and it appeared in Miami Noir and in Best American Mystery Stories 2007. I wanted to give Wylie a much larger problem to solve and to put his life in great danger. That’s what got me started, that and the long legacy of police and political corruption in South Florida, rich material to work with. Then, having done it once, I thought, I’ll do it again. I liked Wiley and Bay and wondered what mayhem would follow them and where would they go. They went to Vegas so that Bay could ply his trade at the poker tables. To be honest, I hadn’t read much crime fiction before I wrote crime fiction. Sherlock Holmes, of course, books my friends Les Standiford, James W. Hall, and Dennis Lehane wrote. So if I broke any rules, I may not have known what they were. I wrote the two novels like I wrote every book with the focus on characters and themes, not on plot. This is what it means to be a human being and this is how it feels.

TBD: What do you want people to take away from your novel?

JD: Before I was a writer, and before I was a house painter, I worked for a while in social service organizations, a suicide prevention hotline, like the one Wylie works at in Vegas, a youth center, a drug prevention program. So I was in touch with that difficult life that so many people have here. In America. I worked with so many people who had lost hope and others who were in terrible emotional pain. And I’ve never lost that feeling that we don’t do enough to take care of the less fortunate. The exploitation and oppression of unfortunate people is something I’d hope the reader would think about. Daily violence is a norm here, but it’s easy to look the other way. And I want the reader to care about Wylie and his friends.

TBD: What were some of the pleasures and perils of writing this book?

JD: I spoke glibly above saying how theme and character drove the novel. Plot’s always been the most difficult aspect of novel writing for me. It’s so damn hard. So when I wrote the first Coyote novel, I got to about 250 pages when I realized I didn’t know who committed those murders in the opening chapter, and I thought, this is why the crime writers make the big money: they have to write a novel and solve a crime. Too late then to bring a bad guy with a gun onto the stage. So it was pack to page one. Same thing this time. As possible suspects entered the novel, I paid attention and watched them looking for clues. Anyone of them could have done the deed, but who really did? Wylie’s no Sherlock Holmes, no consulting detective, but he is a man who pays attention. And he doesn’t work alone. He has the illusionist Bay and the bedlamite Open Mike by his side.

TBD: Tell us about how you got your first book published?

JD: It was a book of short stories, and I had probably published six or seven stories in literary journals. I had a bunch of others, and I put them together as a book, and I went through one of those books Writer’s Digest put out or something like that. And I looked through all of the agents looking for short story collections, and there were three.

TBD: I’m surprised there were three!

JD: I know, I know! So I wrote to the three of them, and one of them got back to me. He was very enthusiastic. I would tell anybody who is looking for an agent, make sure the agent is excited about you and your project. Not just, “I’ll do it…” Because it’s hard for an agent to sell a book. Especially if it’s short stories. So my agent sent my book of stories around for about a year. It finally sold to Jill Bialosky at Norton, and I’ve been with Jill and Norton ever since. I remember my editor saying, “You’re the last guy I’ll ever sell a book of stories for.”

TBD: Your career is interesting and highly unusual for today in terms of sticking with one publisher for each book. And it’s a publisher that’s independent but has real chops in this business. Not to mention the fact that you write very quirky books that are not highly commercial, mainstream, etcetera. How can other writers achieve this kind of elusive success?

JD: First of all, the best readers you’re going to get are your agent and your editor. They’re generous. They want your book to succeed. And they know what they’re talking about. Even if you disagree with them, I always say, just do what they tell you to do. Because they know the business. I don’t know anything about the business. I don’t want to know; I want to write. I also say, if you write something beautiful and moving and telling, it’ll get published. But it may not get published when you want it to be, or where you want it to be. The important thing for a lot of young writers is getting it published. I steer them away from self-publishing. Some of them have, and that’s alright. But you want to get the imprimatur of somebody else. Somebody else who believes in you. Small presses are as good a place to be published as large presses… I mean obviously you’re not getting the same money. But the money isn’t like it was before. You used to be sent on book tours. Now you’re lucky if they give you lunch money. The important thing is to get yourself into the game. You get your book around. You have people reading it. Just don’t give up. You owe it to your characters that you love to get other people to read about them. Until you get an agent, you’re going to do the business work too, and persist with it. I think in some ways publishing is more democratic than it ever was.

TBD: When we go to these conferences, there’s always one person who’s telling writers, “You have to be on Facebook! You have to be on Twitter! You have to have a website, blah blah blah-” And you can see the blood draining out of writers’ faces.

JD: The publishers want you to do work with them, which I understand. When I did my first book of stories, I set up what I called the Motel Six tour. I told them, “Get me the books and a bookstore, and I’ll drive. I’ll take my wife and my kid, and we’ll drive to all the bookstores.” And that’s what I did. And they were all really happy, because this was before social media. I printed up a fake newspaper from Louisiana Power and Light, and Norton sent it around, and got hard copies to people. It was fun. They appreciated that I was willing to do it. I still do it. Somebody just asked me to do a bookstore in Baltimore. But I’m thinking, “How much is this going to cost me?” In the old days, they put me up in beautiful hotels. Paid for everything. Now, at least for mid-list people like me, it’s not happening. And I don’t think it’s happening too much in general anymore. I also have gotten on Facebook because Norton said to do that. A guy helped me out. My wife is good at the computer. I think that’s been kind of helpful. It’s a nice way to spread the news. I saw there was a good review of my new book in the Tampa Bay paper on Sunday, and I put it online. Lots of people have liked it already. They know about the book, they buy the book. Twitter I’ve never been on. I remember once, Carol Houck Smith (who was an editor at Norton for years) and I were sitting together by these editors, and they were all answering questions with, “You need a platform.” And Carol muttered under her breath, “I don’t need a goddamn platform, I need a great book!”

TBD: What are you reading now?

JD: I tend to read a lot of books at the same time. I’m reading Lee Martin’s new novel Late One Night, which begins with the death of a mother and three kids in a fire that may or may not have been arson. And I started Campbell McGrath’s new poetry collection, XX, in which he writes a poem for every year in the last century, in the voices of some of the century’s prominent figures, like Picasso. Mao, and Elvis. Also reading Wired to Create, by Kaufman and Gregoire, and Actual Minds, Possible Worlds by Jerome Bruner. I’m loving, if not completely understanding, Lawrence M. Krauss’s A Universe from Nothing and Carlo Rovelli’s Seven Brief Lessons on Physics.

TBD: How does teaching fiction help or hinder you as a fiction writer?

JD: It only helps. Every reading and every discussion of a story helps me see how stories work or don’t work, including my own. We’re all apprentices in a craft where no one is a master–I think Hemingway said that. This is the craft so long to learn. I always feel better at the end of class than at the start. I always feel like rushing home (which is actually impossible on Biscayne Boulevard) and getting back at whatever it is I’m writing. To be honest, there are moments that I would rather be learning about my central character’s secrets than reading a story about goblins with swords, but I know I’ll learn something about setting a scene, let’s say, in the goblin story that will be valuable to my students and to me.

TBD: We hate to ask you this, but since you actually wrote a book about how to write a novel, we feel we have to. What advice do you have for writers?

JD: Probably the advice you were expecting to hear: read and write every day. No holidays for the writer. We always find time to do the things we love. We only have to want to write as much as we want to go to the movies. And if you don’t love writing and reading, do something else. It’s too hard, and discipline won’t bring you to the writing desk. Only love for stories will do that. Here’s Faulkner on reading: “Read, read, read. Read everything — trash, classics, good and bad, and see how they do it. Just like a carpenter who works as an apprentice and studies the master. Read! You’ll absorb it.” And Chekhov on writing: “Write as much as you can! Write, write, write till your fingers break.”

John Dufresne is the author of seven novels, including I Don’t Like Where This is Going and No Regrets, Coyote. Among other honors, he has received a Guggenheim Fellowship and is a professor in the MFA program at Florida International University. He lives in Dania Beach, Florida. For more information, please visit www.johndufresne.com.

John will be joining our Pitchapalooza panel in Miami on May 7, 2016, at 2 p.m. Learn more at the Miami Herald. 

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Jerry Nelson, Dear County Agent Guy book cover, midwestern dairy farmer, author,

Jerry Nelson on Feeding the Machine, Husband Training and Getting a Book Deal with a Great Publisher

We’ve been to the South Dakota Festival of Books twice so far, and we have now discovered two amazing writers who came to the festival without a book deal. Both now have books about to come out. Our conclusion is that there are lots of great writers in South Dakota, and many of them go to that festival. As soon as we met Jerry Nelson, we knew he was the real deal. He has that subtle, dry Midwestern wit that sneaks up behind you and then whacks you right in the funny bone. Since he’s writing about experiences that are so far out of the norm from people on either coast, we knew he’d need a special kind of publisher. We’ve seen over and over again how New York publishing doesn’t quite get this kind of Midwestern book and doesn’t understand what a big audience it has. Jerry’s opus, Dear County Agent Guy, is finally ready for publication, and we are so happy to see this book spread its wings and fly out into the world. We thought we’d check in with him to see exactly how he did it.

To read the full interview on the Huffington Post, click here.

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The Book Doctors: When did you first become interested in being a writer, and how did you learn to be one?

Jerry Nelson: I was in junior high school when I read a newspaper column by humorist Art Buchwald. My first reaction was “Newspapers don’t print stuff like this! Newspapers are supposed to be serious and stodgy!” My second reaction was “Where can I find more of this?”

When I was a kid, I never imagined myself becoming a writer. My only goal in life was to be a farmer like my dad and his father before him. I didn’t think that a formal education was necessary for achieving this goal. I put in the minimum amount of effort required of me at school and barely graduated from high school.

I learned to be a writer by reading, which I call “feeding the machine.” Reading enables you to travel to exotic lands and experience new sights and sounds.

The next step toward becoming a writer is to do some actual writing. There are many who say, “I should really write a book!” yet never get past the “should” part. We all have that little voice in our head who is constantly narrating the passing scene. Writing is simply committing that narrator’s words to paper. In essence, I learned by doing.

BD: What are some of your favorite books and why?

JN: I thoroughly enjoy everything that Dave Barry has ever written. He is one of those writers who has the uncanny ability to make the reader spontaneously snort with laughter.

I adore the outdoor writer Patrick F. McManus. When our sons were young, it became a tradition to read one of Pat’s humorous essays to them as a bedtime story. This resulted in much giggling from the boys and from me.

At my bedside is Volume I of The Autobiography of Mark Twain. I dip in and out of it randomly, which I understand is pretty much the method Twain used to write it. Time spent with such a virtuoso is never wasted.

I also loved The Grapes of Wrath and The Great Gatsby. The list goes on and on.

BD: Read any good books lately?

JN: Our son and daughter-in-law recently gave me a signed copy of Failure is Not An Option by Gene Kranz. It details the author’s experiences as a NASA Flight Director in the early days of our nation’s space program and during the near-disaster that was Apollo 13. These things took place when I was a kid, so it’s like time traveling for me.

I just finished Leaving Home, a collection of The News From Lake Wobegon essays by Garrison Keillor. They are from the early days of A Prairie Home Companion, so most of them seemed new to me. Reading them was nearly as pleasurable as hearing them. They gave me a chuckle and filled me with a deep sense of home.

BD: You have been compared to Mark Twain and Garrison Keillor. How do you feel about that?

JN: It totally blows my mind!

As a boy, I first fell in love with Twain when I read Tom Sawyer. I then proceeded to devour Huckleberry Finn and almost everything Twain has written. He was an American original and is still the undisputed master of his genre.

I first heard Keillor’s voice one Saturday in the mid-1990s when I was feeding my Holsteins. A commercial for Bertha’s Kitty Boutique came through the speakers on my tractor’s radio and I was instantly hooked. I cannot imagine a Saturday evening without A Prairie Home Companion.

Keillor is a living legend and being compared to him is an unspeakably huge honor. Keillor grew up in Anoka, Minnesota, which is four hours from our farm, so it’s natural that our styles might have a similar terroir. The difference is that Keillor writes about Norwegian bachelor farmers, while I once was a Norwegian bachelor farmer.

BD: Tell us about how your professional writing career started.

JN: In 1996, my area was suffering through an extended period of wet weather. It had been so wet for so long that cattails were beginning to grow in my field where there should have been rows of corn.

Feeling frustrated and helpless, I penned a spoof letter to Mel Kloster, my local county extension agent. In the letter, I asked Mel if he knew of a cheap, effective herbicide that could control the cattails. And while he was at it, maybe he could advise me on how to get rid of all the ducks and powerboats that were out in my corn field.

Instead of using a normal salutation, I started the letter with “Dear county agent guy.”

Mel told me that he had enjoyed my missive and that I should get it published somewhere. I replied that I had zero training as a writer and didn’t know the first thing about publishing.

Despite my reservations, I took Mel’s advice and showed the letter to Chris Schumacher, editor of our local weekly newspaper, the Volga Tribune. Chris read the letter and said, “Yeah, I’ll publish this. Do you have any more ideas?” I replied that I had maybe one or two. “Keep them coming,” he said, adding, “What should we call this?”

I asked Chris what he meant by “this.”

“It’s a newspaper column,” said Chris. “How about using the salutation, ‘Dear county agent guy?'”

I replied that this was fine by me and that’s all the thought that went into it. I have written a column each week ever since.

That tiny spark was the beginning of my writing career. As my confidence in my abilities grew, I began to get some of my work published in the nation’s premier farm magazines. I also began to submit scripts that were used on A Prairie Home Companion. I don’t recall exactly how much I was paid for those scripts, but do know that the money was put toward our home heating bill.

BD: You been doing your column “Dear County Agent Guy” for a long time, what have you learned about America by writing about this very particular part of it?

JN: I have learned that folks who live in the Midwest feel that we are all part of a large, extended family. I often write about what’s going on in my life, so my wife and our two sons have provided me a lot of fodder over the years. I have had numerous people say to me, “I feel like I know your family better than I know my own!”

A high school girl recently told me of a family ritual that involves my newspaper column. My column arrives at their home on Friday. When they sit down for their meal that evening, one of the family members reads my column aloud at the table. What I have written then becomes the official topic of discussion during the meal.

Reactions such as those are very gratifying and extremely humbling. They also drive home what a huge responsibility I have to my readers.

BD: What are some of your favorite stories in the collection?

JN: That’s like asking which of your offspring is your favorite child! I cherish them all equally.

But if you held a gun to my head, I might say that “Electric Fencing 101” has a special place in my heart, mainly because it’s mostly true with only a little embellishment here and there. That piece illustrates what it’s like to raise kids on the farm.

Another piece that is special to me is “The Four Seasons of Farming.” It’s one of the more ruminative articles in the book, an essay that speaks to my deep connection with my family, the land and the rhythms of the earth.

BD: Your family have been dairy farmers for four generations. How has farming changed since your great-great-great-grandparents were milking cows?

JN: When my ancestors homesteaded in Dakota Territory, they milked cows the same way it had been done for 10,000 years, that is, by squatting beside a cow and squirting the milk into an open bucket.

Modern dairy farmers utilize 21st century technology. Some dairies have milking parlors that can milk dozens of cows at a time. Over the past few years, robotic milkers have come to the fore. These machines can clean the cow’s udder, attach the milking unit and apply a post-milking teat dip, all without any direct human supervision. Daily milk production and numerous other data points can be accessed via your PC or your smart phone. The robot will send a text to your cell phone if it needs help with an issue.

Cow comfort is paramount on the modern dairy. It used to be that the cows were cold in the wintertime and suffered through the heat during the summer. Nowadays, dairy barns are climate controlled and some dairy farmers have even opted to equip their stalls with water mattresses. Many dairy operators put electronic necklaces on their cows that will track such things as how many steps the cow takes each day and how much time she spends chewing her cud.

My wife wants to put a similar necklace on me so that she can quantify how much time I spend doing actual work and how much time I waste goofing off. I am adamantly opposed to this idea.

BD: Many of our readers want to know, how exactly do you train a husband?

JN: My wife says that one of the things that first attracted her to me was the fact that I have five sisters and was thus “pre-trained.”

From what little information I have managed to gather, husband training is more of an art than a science. It’s also an ongoing, never-ending endeavor. I have heard wives say that it can take up to 50 years to get a husband properly trained.

Husbands are actually fairly simple creatures. We respond positively to rewards and have a deep aversion for unpleasant experiences. If you discover a training method that works well for your Golden Retriever, odds are it will also work for your husband.

BD: We hate to ask you this, but what advice do you have for writers?

JN: There are six simple rules to becoming a better writer: read, read, read, and write, write, write.

Read everything you can lay your hands on. Read the greats and the not-so-greats, anything that will stretch your imagination and your vocabulary. Make certain that you consume a healthy dose of poetry on a regular basis.

As a writer, don’t be afraid to put yourself out there. Recognize that you are not perfect and will never be able to please everyone. Such is life.

It has been said, “Be bold and mighty forces will rush to your aid.” I have found this to be true throughout my years of beginning each week with the words “Dear county agent guy.”

Jerry Nelson and his wife, Julie, live in Volga, South Dakota, on the farm that Jerry’s great-grandfather homesteaded in the 1880s. In addition to his weekly column, his writing has also appeared in the nation’s top agricultural magazines, including Successful Farming, Farm Journal, Progressive Farmer, and Living the Country Life. Dear County Agent Guy is his first book.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Cathie Borrie, author, memoir, self-publishing

Cathie Borrie on Getting a Book Deal When No One Wants to Publish Your Book

We first met Cathie Borrie years ago on our trips around the publishing world. It was immediately apparent upon reading her stuff that she was an amazing storyteller and an exquisite wordsmith with a true gift for poetic articulation. But her book was about such a difficult subject, we knew she’d have a hard time getting a traditional publisher interested. That didn’t stop her. She wrote a deep, moving, glorious book, and eventually, after years of ridiculously hard work, she found her audience. We thought we check in with her to see exactly how the heck she did it.

To read the full interview on the Huffington Post, click here.

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The Book Doctors: When did you first start becoming a writer, and how did you learn to be one?

Cathie Borrie: No doubt you are aware of that stale, sorrowful mantra: “I’ve always wanted to. . . ” That cliché was my writing story. I dabbled in poetry as a child, followed by decades during which I had marvelous experiences and adventures but did not write. When my mother became ill and went on to develop dementia, everything changed for me, turned direction, and stopped. Her language evolved into one of extraordinary insight, humor, and poetic sensibility. I wanted to keep her voice, and began to tape our conversations. I think this time of quieting down, of listening and taping, served as muse for the release of my own writing voice. Mother living with dementia, as muse! My goal became to convey that the story is not a long goodbye, and that she had not become an empty shell.

How does anyone learn to be a writer? Can it be learned? I began my vignette-like pencil scratchings in 2004, when my mother was still alive and living with dementia. I have always loved learning, and loved going to school. It suits me: the discipline, the homework, the camaraderie, and I was thrilled when, in 2005, I was accepted into The Writer’s Studio program at Simon Fraser University. This course changed everything for me and for my writing. Under the expert tutelage of author and then-director Betsy Warland, I honed the words I had already written and added thousands more. After the program, a number of us formed an inter-genre writing group, which provided me with an enormous opportunity to continue with my writing and editing.

TBD: What are some of your favorite books or authors, and why?

CB: Treasured genres: literary fiction, short stories, poetry. The ever evolving author list: Annie Dillard, Harriet Doerr, Lydia Davis, Ann Michaels, Anita Brookner, Yeats, Jane Yolen, John Kennedy Toole, because they write in a sparing beauty and I crave that. Favorite book: Kenneth Grahame’s The Wind in the Willows, the 1980 edition with illustrations by Michael Hague.

TBD: Read any good books lately?

CB: I am reading or re-reading, and loving, The Conference On Beautiful Moments by Richard Burgin, The Night Sky by Mary Morris, Tinkers by Paul Harding, Seamus Heaney’s Wintering Out, and Molly Peacock’s Alphabetique: 26 Characteristic Fictions.

TBD: We’ve heard over and over from New York publishing people that books about Alzheimer’s don’t sell. We tell writers that they know more about their audience than New York publishing oftentimes does. Tell us about Cathie’s wild ride to publication.

CB: I finished the work around 2008, at the time of the economic crash. Agents and publishers were pulling back on taking new clients, especially platform-less memoirists. On top of this dismal scene, I kept hearing that books about Alzheimer’s don’t sell, or that the market is saturated with memoirs about Alzheimer’s. But non-fiction topics leave room for different perspectives, and I knew this work wasn’t like anything else in the field, in form or content. It uniquely included the voice of an elderly woman living with dementia and no author had taken that approach with this topic. Also, I wrote a memoir with broader themes, which I set in context of family relationships, and, although its center revolved around dementia, it included universal stories that would, I believed, appeal to a wider memoir readership.

In September, 2010, Francesca Rosenberg, Director of Community, Access and School Programs for the Museum of Modern Art in New York, invited me to present The Long Hello for World Alzheimer’s Month. I had been doing theatrical readings based on the manuscript internationally for a number of years, as I continue to do. For this event, Melia McLure accompanied me by reading my mother’s voice. MoMA expressed interest in having the book available so I took a deep breath, and self-published. For the next four years I marketed the book to the best of my abilities and although I possess drive and determination, my tolerance for rejection is shaky, at best. At the time, media were not interested in a self-published author, and I still held dreams of being part of a publishing team. In 2014, author and memoirist Molly Peacock referred me to a literary agent, Marilyn Biderman, who secured a contract with Simon & Schuster Canada. Publication with a major trade publisher ushered in a sunny day for The Long Hello, and for me. Marilyn then placed The Long Hello with Arcade, an old and esteemed independent house that had recently been bought and resurrected by a larger independent, Skyhorse, while maintaining some of the members of its original editing department. I continue to perform excerpts from The Long Hello, sometimes accompanied by live musicians, and more recently have completed the stage play, co-written with playwright James Fagan Tait.

TBD: Tell us about delivering your keynote performance at MoMA for the World Alzheimer’s Day event. What was that experience like? What were the repercussions?

CB: I think we can all agree that a call from MoMA would be considered a highlight in any author’s career, as it certainly was in mine. MoMA runs a marvelous program for people living with Alzheimer’s and their care partners: Meet Me at MoMA. To be able to tell my story, to hear my mother’s magical words that defy the Alzheimer’s stereotype, in that beautiful space, was unforgettable. I met wonderful people and received additional invitations after my appearance at MoMA.

TBD: What was it like to take some of the worst experiences in your life and make art out of them?

CB: My writing style has been described as “lyrical, poetic, and spare.” The chapters about childhood, birds, horses, dance, even about sports’ day, lent themselves to that form. But when I knew I had to bite the bullet and write about my parents’ divorce, the death of my brother, my mother’s last days, I looked down at the yellow paper with those perfectly spaced wide lines and despaired. How could I take those stories and render them in lyrical form? I hardly wanted to think about them. But, as other writers have described, beauty and meaning are available in the darkest of places, and I found that wonderful memories surfaced alongside the difficult ones. I recalled a poignant incident that occurred shortly after the death of my grandfather.

I would climb a tree after school to wait for my mother to come home from work every day, feeling a deep pleasure in looking out over the beautiful farms scattered throughout the valley, and breathing in the pleasing scent of pine, my fingers sticky with pitch.

In other parts, or scenes, as I think of them, sad memories were often infused with bird song, always birds . . .singing, and the moody sea, offering solace. Homesick at boarding school, my beloved English teacher reveals what it means to love by reading Yeats to us, her eyes closed, a thin private smile etched across her face. And finally, I found a euphoric comfort and sustenance in the writing process itself: that burning need to write sparingly, and the commitment to edit every sentence hundreds of times so that no word is unnecessary, or wasteful, or unfit.

TBD: What was it like to get a quote from Maya Angelou? It must be so gratifying to get so many amazing blurbs from doctors, writers, reporters.

CB: Maya Angelou’s one word, “Joy!” was an absolutely astounding response to the work. Imagine a memoir centered on dementia, described with this one perfect word – “Joy!” I am deeply grateful for all those generous people who endorse The Long Hello: Maya Angelou, Lisa Genova, MoMA’s Francesca Rosenberg, and others whose names warm my heart and whose words fill that uncertain place in which a writer, manuscript completed, waits to be published.

TBD: What’s next?

CB: My current manuscript is a genre busting work for children. My wish list:
1.The stage adaptation, performed in theatres. 2. Just the right people to bring The Long Hello to the screen, with eyes knowing how to unearth the back-stories, the landscape, the beauty.

TBD: We hate to ask you this, but what advice do you have for writers?

CB: Edit your work so that when you send it to prospective agents and publishers, it is in pristine shape. To survive the process, muster: tenacity, a relentless drive, resilience, and a sturdy constitution.

Cathie Borrie briefly tried her hand at theater school, trained as a nurse, holds a bachelor of science in nursing from the University of British Columbia and a Master of Public Health from Johns Hopkins University. She has a law degree from the University of Saskatchewan and received her Certificate in Creative Writing from the Writer’s Studio at Simon Fraser University. She continues to write new work, and to perform adaptations of The Long Hello, and is no longer an active actor, a nurse, or a lawyer. She lives in North Vancouver. You can see Cathie’s website at: www.cathieborrie.com

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Julie Schumacher

Julie Schumacher on Writing & Selling a Novel Written in the Form of Recommendation Letters

It’s pretty rare when we, The Book Doctors, are reading the same book. Arielle tends to love books written by people who’ve been dead for several hundred years. Or doorstop-sized biographies, and giant non-fiction tomes about people doing bad things, like the brilliant book about Bernie Madoff, The Wizard of Lies. I tend to gravitate toward books with tragically flawed heroes and gorgeous mysterious dames who are never quite what they seem to be at first blush. I tend to like bullets, bombs, uncontrollable passions, epic gruesome one-of-a-kind murders. Raymond Chandler, Cloud Atlas, Game of Thrones. But we both absolutely adored Dear Committee Members by Julie Schumacher. We love it so much we’ve become evangelists for the book, telling everyone who will listen that they MUST read this novel. When you read it, you’ll find out why. So we decided we would interview Julie and see what she had to say for herself.

To read the full interview on the Huffington Post, click here.

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ARIELLE: Because we edit books, we’re always interested in how a novel is constructed. Yours is one of the most brilliant constructions that we’ve ever seen! You’ve managed to write a novel that is made up solely of recommendation letters from a Professor of English at a University. It’s a brilliant high-concept idea, but it’s one that seems impossible to pull off before you read it. We were wondering how you conceived of the idea and how you constructed it?

JULIE: The idea came to me sort of accidentally. I was teaching an undergrad fiction class at the University of Minnesota, which I often do, and I was telling the students that typically we don’t start with plot and structure, but sometimes if you’re stuck, you might try to begin a short story or a short work of fiction by coming up with some kind of format. Maybe you could come up with a short story in the form of a to-do list. Or a series of definitions. Or there’s a couple of pieces of fiction written in alphabetical order. Is there some way in which they could jumpstart and experiment with something by coming up with a form first? And one of the students asked me, “Is this something you usually do?” And I said, “No, actually, I never do that. I don’t start with structure. It’s not the way I write. I always start with character.” And they kind of pushed me on it. And someone asked, “Well, if you were going to do that, what would you do?” So I said, kind of facetiously, “Well, something in the form of letters of recommendation because I always write them for you people.”

DAVID: That’s hilarious! So what happened next?

JULIE: I was thinking about the idea and didn’t know if it would be feasible or doable. I told the idea to a colleague, and he said, “I hope you’re going to do that.” And I thought, well, maybe I could just give it a whirl. I realized pretty early on the two major challenges would be: One, how do you make the letters stick together? Where’s the narrative glue? And two, how do I portray my main character if he’s supposed to always be invisibly describing other people? He’s supposed to be behind the scenes as an author of these letters, rather than on stage. But I thought, having written a zillion letters myself, just finding them frustratingly dull and full of praise but also very boring at the same time that I could create a guy who would just insert himself all over the place. Talk about himself when he’s supposed to be talking about other people. I thought that could actually be good fun!

ARIELLE: What were your next steps?

JULIE: I decided to try to write a few pages a day and see if it went anywhere, and if it didn’t, I’d throw it away. I started it in the summer, and probably by the end of the summer I had a good piece of it done. And I was having the time of my life writing it. I loved writing this book. I had so much fun. Writing is not always a good time, you know? But this was a great time.

ARIELLE: Did you already have an agent? And if so, at what point did you talk about the idea or send some pages, and what was his or her reaction?

JULIE: Yeah, I do. I’d been trying to get her to sell a collection of short stories, and she was giving me the big yawn.

DAVID: Yeah, good luck with that. You had already written a number of books that had sold, right?

JULIE: Yeah. I had two books for them that were out of print, then I had written five novels for kids. In part because my own kids were young, and I was reading what they were reading. I was urging them, “Why don’t you try this book or that book?” and that was where my mind sort of was. Because my agent was not terribly excited, to say the least, about my short story collection, I wrote to her when I was about half done with Dear Committee Members, and said, “Maybe they would want my stories if they knew I was working on a novel as well.” She said, “Well, what are you working on?” And I said, “Well, it’s kind of a weird thing, it’s not done.” And she said, “Send it to me anyway.” I was kind of nervous sending it to her because I thought maybe it’s just amusing to me, and anybody else will think it’s a dumb idea. But she immediately wrote back and said, “Forget your story! We’ll sell this!”

ARIELLE: And did you pitch her the idea over the phone or an email before sending her the manuscript?

JULIE: No, no, I didn’t.

ARIELLE: David and I both heard Maureen Corrigan review your book on Fresh Air while driving and we were both so intrigued we went out and bought the book.

DAVID: It was an incredible review. It was basically a letter of recommendation for your book!

JULIE: I was so thrilled with that review. I think I was in the car too, but I must have been listening to another station. My sister called me and was shouting over the phone at me. “Turn the radio on!”

DAVID: One of the things I love about the book is the way that we watch not only the Creative Writing department, but this man himself, deteriorate through the course of these letters. Was this a conscious decision, or did that just come about as the book went forward?

JULIE: I think his deterioration came about as I was writing the book. I realized early on, “Okay, I’ve got to have several people that he writes to more than once, so it’ll stick together. I started out with his poor student Darren.”

DAVID: We won’t give away what happens. I’ll just say, poor schmuck!

JULIE: Yeah! And then I thought, “Okay, he’s got to have an ex,” so I added Janet. And then I thought, “I should have some backstory to him,” so I created the seminar and his pals from that time. But I wasn’t really sure. I did start to worry when I was about halfway or two-thirds of the way through. Is he just going to seem monochromatic? So I thought, “Okay, I’ve got to kill Darren off.”

DAVID: Well, you just gave it away!

JULIE: Actually, I had an argument with the editor when he bought it. Again, I had sent the agent the first half of it that was finished. The back half was in draft form, I was fairly sure at that point what was happening. But it wasn’t polished enough that I wanted to send it anywhere. And the editor called me up and said, “What’s gonna happen at the end?” And I said, “Well, I’m going to kill Darren off.” And he said, “Oh no no no. Don’t like that idea.” And I said, “Well, Darren’s going.”

ARIELLE: Wait, so you sold this on half a novel?!

JULIE: Yeah!

ARIELLE: That’s wonderful and very unusual. How did the editor influence what you ended up writing in the second half?

JULIE: I had long conversations with the editor about what was going to happen. And he was worried about Darren. He wasn’t sure that was going to be justified. And he was also worried that there wouldn’t be any sort of change in Fitger (my protagonist) himself. He wanted me to include a letter written by someone else that would recommend Fitger for something. And I kept saying, “No no no, I don’t want to do that. I want them all to be outgoing because I thought that would make him seem lonelier somehow.” He said, “Okay, you can kill Darren off, but I still want somebody to write a letter for Fitger.” And I said, “No no no no no.” But we did finally compromise with the letter at the end, in which Fitger quotes someone saying about him: “He’s not as much of an ass as he thinks he is.”

DAVID: Had you worked with this editor before?

JULIE: No. So it was kind of nerve-wracking.

ARIELLE: So what happened? It was sent as an exclusive?

JULIE: No, she sent it to four or five places. I think one or two of them thought about it and passed. And there were two that did want it at the end. Doubleday was one. And I talked to both editors. That had never happened to me before. It was terrific.

ARIELLE: Who was your editor?

JULIE: Gerald Howard.

ARIELLE: Oh, lucky you!

JULIE: Yeah it was really lucky. But again, I didn’t know him at all. And I had never met him. And I was kind of nervous as I was finishing this thing. But it turned out to be a really good editing relationship.

DAVID: Fitger’s character is so unlikeable in certain ways. He’s a liar. He’s petty. He’s narcissistic. But in the end, you kind of end up loving the guy because his heart seems to be in the right place in many ways.

JULIE: I definitely see him that way. I know there’s been a few people who’ve read it who clearly see him as a 100 percent curmudgeon. Just a jerk. They would want to avoid him. But no! He’s sorely lacking in diplomatic skills, and tact, and some common sense. But he cares about things people in the arts care about. And he does care about his students. And I think any shift at the end is demonstrated in the fact that he does start to recognize that he’s not done right by Darren. And he should have said to him early on, “Bad idea. It’s a bad book.” And he didn’t. He was selfishly advocating for Darren in part because it was sort of a vicarious relationship, and selfishly he wanted his program to live on, and Darren’s his last chance.

ARIELLE: I just want to go back to one thing, because we get this question from clients all the time about, “How do I say no to my editor, and when do I say no?”

JULIE: I think that’s really hard. In the past, I think it was the second story I ever published, I was 28, 29 years old, and had a really bad experience where an editor just ran roughshod over my story in a way I thought was offensive. And in retrospect, I think I should have just said, “No, you can’t do that to my story.” But you know, I was 28, I really wanted a credit and something on my resume, and I let him screw with my work. I think right now, I’d say, “I’m taking it back.” But back then, I didn’t have the wherewithal to do it. But most of the time, everything other than that one story, I’ve had really good experiences with editors. In the kid-book world, the editorial hand is extremely heavy. I think I’m not the only one who’s found that. You send in your completed manuscript and feel very happy about it, and they say, “Oh, we still like your book. We’re so excited!” And then they send you a 12 or 15 page letter. “Here are the things we’re really excited to see you do.” So those were sometimes excruciating to receive, and I would get snarly and defensive and take long walks for a few days, and then would realize, well, they were right. Ninety percent of the time, I was just going to do what they asked.

ARIELLE: Gerry Howard is a guy with best-sellers longer than both of his arms. What, in that case — I’m sure you agreed to many of the changes that he made — but what was it in the places you did say no, that made you say no?

JULIE: The only one that was of consequence was his desire for somebody to write a letter for Fitger at the end. He pressed on that and pressed on that, but when I suggested a compromise, and wrote it in, he said fine.

DAVID: But killing off Darren is also a huge thing.

JULIE: Yeah, and he did not like that idea. But once I sent him the completed manuscript, he went, “Oh okay. I see what you want to do. That makes sense.” When I talked to him on the phone after he was thinking about buying it based on the first pass, he said to me, “I’m a reasonable person. I’m not going to ask you to do things to your book that you think are going to ruin it. We’ll be able to talk about ideas. We’ll bat things back and forth. I want you to be able to trust me.” He was great.

ARIELLE: So, Professor Fitger is very helpful to his students who want to get their books published. But we’ve found that, typically, there’s a lack of education, or even just snobbery, by academic and MFA programs about how to get published. I’m wondering how you prepare your students for the very harsh realities of today’s publishing world.

JULIE: I don’t know. I haven’t found any snobbery. I’ve certainly found among creative writing faculty people who say, “Let’s bring editors and agents in here, let’s help with the professional life of the writer.” And on the other hand, some faculty who say, “Let’s create a more sheltered environment in which people can purely work on their writing, and worry about publishing, et cetera, later. Now is not the time to be thinking of marketplace issues. Now is the time to be writing. Let’s consider this a sort of retreat.” I understand both those points of view. I think some programs in particular, Iowa and Columbia – Iowa because it’s Iowa, Columbia because it’s in New York – are very good at bringing in agents, editors, et cetera, to look over people’s work. I’ve certainly had students who, when we have occasionally brought in editors to the U of M, say, “I don’t want to meet with them. I’m busy on my novel. I can’t do that right now.” Which I totally respect.

ARIELLE: And do you, for example, teach people how to write a proper query letter? Or do you give wisdom from your own experience of having books published? As we all know, you can have a perfect book that doesn’t get published.

JULIE: Yeah, definitely. I don’t teach to a whole group of people how to write a query letter. Or here’s how to find an agent. Here’s how to self-publish. I would say on a more individual basis, “This book is on its way to being terrific. I don’t think it’s there yet. I don’t think you’re going to profit by sending it out right now. I think you need more time.” In the rare case where people are ready to sell something while they’re still a student, I and other faculty will try to hook them up with an agent.

ARIELLE: You do? Oh, that’s great!

DAVID: And how did you make the leap from writing for adults to writing for kids? Did you find it a difficult transition, or what?

JULIE: For me it wasn’t hard at all because the short stories I had been writing, and many of which were in my first book of short stories — first and only so far!– were about parents and kids and families. A bunch of them had child narrators. It felt to me like a small or relatively subtle shift to go from writing about children for an adult audience to writing about children for a younger audience. I think in Kid Lit there’s a greater directness in plot and structure, and a greater emphasis on, y’know, what happens next.

DAVID: Action.

JULIE: Yeah. I had started working on the first kid book I wrote, and realized I am not good at plot. I really needed to teach myself how to do it. Again, my own kids were young. I was reading aloud to them, reading E.B. White. I must’ve reread Charlotte’s Web ten times. My kids love that book. I thought, here’s a plot, clicking into place like little Lego pieces. A leads to B leads to C. I’m going to teach myself how to do this. I’m going to learn cause-and-effect in narrative. And I’m going to build a book. And I very, almost mechanically, outlined a book. Conflicts would start on page one. There’s a mother and a daughter disagreeing. Each chapter was going to be 8 to 10 pages long. There were going to be fifteen chapters. I thought, “It’s probably not going to be any good. I’ll probably just toss it away. But I’ll learn something!” And at the end of the year, I had written a book, and I really liked it! Then I kind of fooled myself into thinking it will be so easy writing children’s books, y’know? Every new project refuses to cooperate in its own unique way.

ARIELLE: We saw that you’re teaching a course on the child narrator. And you sort of answered this question, but we’re curious about, for you, what separates YA from adult fiction if you have a child narrator? Prep, for example, was published as adult fiction.

JULIE: I think that’s a really interesting question. I taught a class on child narrators. Again, I think it’s a matter of emphasis. You would read something like Push by Sapphire and simply because of the subject matter, the sexual violence, you would decide, not for a kid. But The Curious Incident of a Dog in the Nighttime was published in Britain in two simultaneous editions with two different covers. One for kids, one for adults. Same book. In the U.S, for whatever marketing reasons, it was decided that it was for adults, but eventually kids started reading it anyway. There’s this whole crossover phenomenon. To me, typically, the hallmarks of a kid book are a greater directness, in plot and structure on the one hand, and maybe in the emotions on the other. I just reread The Yearling. I haven’t read it in ages, and it’s a beautiful thing. There’s nothing in that book that would not satisfy an adult reader. But it’s not as subtle, emotionally. As an adult you can feel that your emotions are about to be worked on in a particular way, but it’s no less beautiful or literary for that.

DAVID: We hate to ask you this, but what advice do you have for writers?

JULIE: Oh, persistence. I just think persistence is key. At some point, in the dark of the night, you ask yourself, “Am I more foolish for continuing along this path and hoping, or would I be more foolish for giving up?” You don’t know sometimes.

DAVID: Yeah, there is an element of blind faith, isn’t there?

JULIE: Yeah. It is about blind faith, and believing in yourself. I think part of that is you want to believe in yourself not because you are sure that vast success is on its way, but you’re sure that this matters to you. And that it will offer you some reward even at its most frustrating. There will still be something in it for you.

Julie Schumacher graduated from Oberlin College and Cornell University. Her first published story, “Reunion,” written to fulfill an undergraduate writing assignment (“tell a family tale”) was reprinted in The Best American Short Stories 1983. Subsequent stories were published in The Atlantic, MS, Minnesota Monthly, and Prize Stories: The O. Henry Awards 1990 and 1996. Her first novel, The Body Is Water, was published by Soho Press in 1995 and was an ALA Notable Book of the Year and a finalist for the PEN/Hemingway Award and the Minnesota Book Award. Her other books include Dear Committee Members, An Explanation for Chaos, and five novels for younger readers, all from Delacorte. Ms. Schumacher lives in St. Paul and is a faculty member in the Creative Writing Program and the Department of English at the University of Minnesota.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

Join our newsletter to receive more interviews and tips on how to get published. 

Dirk Lammers

Dirk Lammers on Books, Baseball, and the Joys and Perils of Getting Published

We met Dirk Lammers a couple of years ago at the South Dakota Festival of Books. (For those of you who haven’t been to that book festival, or to South Dakota, do yourself a favor before you die and do both. Breathtaking landscape, ridiculously friendly people, world-class published authors, very serious and talented attending writers. We saw buffalo; a donkey put his head into our car–it was a series of peak experiences.) So Dirk told us about his book at the South Dakota Festival of Books. David is a huge baseball fanatic, so the subject was of great interest to him. Dirk was fun, knowledgeable, smart and passionate, all wonderful ingredients for an author. Hell, for anybody. We had a very strong feeling that he was going to get his book published. Lo and behold, here it is, Baseball’s No-Hit Wonders, just in time for the Boys of Summer to take center stage as America’s pastime unfolds, as it has since the 1800s, and takes us through the dog days of summer all the way into the Fall Classic. So we thought we’d chat with Dirk about baseball, books and getting published.

To read the full interview on the Huffington Post, click here.

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The Book Doctors: Why did you decide to write this book?

Dirk Lammers: My interest in no-hitters is borne out of my identity as a Mets fan and suffering through numerous ninth-inning misses by Tom Seaver, and watching guys like Seaver, Nolan Ryan, David Cone and Doc Gooden finally notch their no-nos in other teams’ uniforms. That led to a website, NoNoHitters.com, which tracked the Mets’ dubious streak of playing more than 7,500 games without a no-hitter. For years, I diligently tweeted updates and wrote blog posts each game until the count reached 8,019 and Johan Santana broke the 50-year curse on June 1, 2012. I decided to retool the site around all no-hitters and realized that my wealth of research was probably worthy of a book.

TBD: Why do you think people are so fascinated by the idea of a no-hitter?

DL: A no-hitter is all about the suspense, and whether it’s a fan, a player or an announcer, the suspense doesn’t begin for everyone at the same time. Some might be aware that it has been happening since the first pitch; others might not take note until the 6th or 7th inning. But once you’re aware it’s happening, each pitch, each crack of the bat, each throw takes on a heightened significance. I also think that for fans, the cast of characters is so varied that you never know who’s going to throw one. It could be Nolan Ryan, Sandy Koufax or Bob Feller or it could be Bobo Holloman, Bud Smith or Chris Heston.

TBD: What were some of the joys and difficulties of writing this book?

DL: Many of the greatest joys in writing this book came from the interviews. Chatting with former MLB Fay Vincent in such detail about the 1991 committee’s decision to tighten the definition of a no-hitter was so compelling, and then to have him agree to write my book’s foreword was such an honor. When I was at Fenway Park to interview Clay Buchholz and some other players, I got to sit in the Red Sox dugout to conduct the interview. Such hallowed ground. And it’s hard to top getting to talk to Don Larsen about his perfect game in the 1956 World Series.

One of the biggest difficulties was securing rights to the book’s nearly 90 photos on a tight budget, considering that financial responsibility fell on me. I combed my hard drives from games and museums I had visited to dig up anything that was relevant, and I headed out to as many ballparks as I could to get my own shots of players, stadiums and other items. I also worked with the National Baseball Hall of Fame to secure rights for some images from the archives, worked with online auction houses for some memorabilia shots and was fortunate to get permission from Keith Allison, a great sports photographer from the D.C. area, to use some of his more recent images.

TBD: What are some of your favorite stories from no-hitters?

DL: It’s not an official no-no, but Harvey Haddix losing his perfect game (and the ballgame) in the 13th inning after retiring the first 36 batters still boggles my mind. And the tale of Dock Ellis throwing a no-no while tripping on acid never gets old, no matter how many times I tell it, read it, watch it or hear it in song. I find Dave Stieb’s perseverance of finally completing the task after losing four no-hitters in the ninth inning inspiring for all of us who encounter failure. But as a Mets fan, the no-hitter that is forever etched into my mind is Johan Santana’s no-no, because of the long and detailed backstory.

TBD: Do you think it is immoral, shameful and dishonorable to try to bunt your way on base when someone is in the last innings of trying to throw a no-hitter?

DL: It’s funny, I wrote a whole chapter on this subject and I’m not sure I’ve completely made up my mind. I see both sides, but it’s certainly more acceptable in a 1-0 game than a 12-0 game. If I were the batter I would swing away, and if my coach singled for the bunt I’d be more than a little peeved. But if I were a pitcher who lost my no-no on a push bunt to first, I would stare that batter down for the rest of the inning.

It’s interesting that this is a rather recent unwritten rule. Pete Rose bunted during Ken Johnson’s no-hitter for the Houston Colt .45s but Johnson wasn’t peeved. And then at some point, the practice became taboo. You can’t really expect an athlete to not compete, and if that guy is a speedy leadoff hitter you’re taking something out of his toolbox by removing the bunt.

TBD: How did you go about getting your book deal?

DL: After I outlined the chapters and wrote the first few, I felt like I had enough of a concept of where the book was going to craft a formal proposal, though it was way more work than I had anticipated. I began submitting to literary agents who seemed to have an interest in sports and set a goal of submissions a day. I received my share of rejections and no responses but also got some positive and encouraging responses from agents who could not take on the project. I was then contacted by literary agent Helen Zimmermann, who had a publisher who expressed interest and wanted to publish my book. One of that company’s partners, however, had a recurrence of cancer and they had to shelve any new projects. A month later, Unbridled Books expressed interest and the book found its home.

TBD: Who do you think are some of the most unlikely pitchers to have thrown a no-hitter?

DL: The St. Louis Browns’ Bobo Holloman, who threw a no-hitter in his first major-league start in 1953, has to be one of the most unlikely successful pitching performances of all time, considering he ended his career with a 3-7 record and a 5.23 ERA. It’d give the St. Louis Cardinals’ Bud Smith (7-8 lifetime record) a close second, and probably place Philip Humber’s no-no in third as he’s an ex-Met.

TBD: And what pitchers do you look at and say, I can’t believe you never threw a no-hitter?

DL: Grover Cleveland Alexander is probably the most prolific pitcher not to have thrown a no-hitter. He won 373 games and had an overpowering fastball and sharp curve, so he should have landed in the club. Lefty Grove and Early Wynn should join him as well. Modern-era pitchers that should have thrown at least one include Steve Carlton, Don Sutton, Roger Clemens and Pedro Martinez, who threw nine perfect innings for the Expos but his team couldn’t give him a run. I also find it funny that Paul Dean has a no-no, but brother Dizzy Dean does not.

Greg Maddux easily could have thrown a no-hitter with his talent, but he actually was quoted during his playing days saying he never would because he liked to experiment in the strike zone too often.

TBD: I know you are a Mets fan, I won’t hold that against you, but do you think they have a chance of winning the World Series this year and why?

DL: The Mets have the best starting pitching staff in the league, so anything less than a return to the World Series will be a disappointment. I’m especially happy that the team shored up the middle infield and has brought back Yoenis Céspedes to give some punch in the cleanup spot. That said, the team needs to stay healthy and David Wright needs to return to top form if the Mets are going to go all the way. I sure hope they can do it. The year 1986 seems such a distant memory.

TBD: Do you believe that in the year 2016 the San Diego Padres can finally get off the no-hitter schneid?

DL: I honestly thought that 2015 was going to be the year for the Padres, but a San Diego starter never even reached the sixth inning with a no-no intact that season and the team’s count is now sitting at 7,490 games (still far to go to catch the Mets). James Shields would certainly qualify as the favorite, but my guess is that Tyson Ross or Andrew Cashner might be the one to break the curse. And to live on the dangerous side, I’ll go on record saying it will be Ross in 2016.

TBD: You have written lots of short pieces from a journalistic point of view. How is it different writing a whole book? What advice do you have for writers?

DL: I actually embraced the journalistic process to write this book as that’s what I am used to. And, frankly, it made it less overwhelming to view it that way. I set out to write 27 1,000- to 1,500-word stories, all centered around the same subject, and I conducted as much research as I could through newspaper clippings, books, box scores and (whenever possible) personal interviews. I am currently working on a non-sports biography and am using a similar process, although with a biography I am constantly reworking the early and late parts of chapters when I get a better idea of their placement to make the transitions more seamless. I’m not sure how well this process will translate to fiction, but I will find out when I try to enter that world someday. Writing for the Associated Press has taught me to be concise and write for clarity, and I think that training has helped me as an author. My advice to new authors would be to embrace a process they are comfortable with, and nudge it into a new direction rather than trying to start from scratch. It’s easier to start from a place where you are comfortable and move it out of that zone.

Dirk Lammers is an award-winning Associated Press journalist who for years chronicled the New York Mets’ 50-year quest for the team’s first no-hitter. He has spent more than two decades writing thousands of news stories and features for the AP and Tampa Tribune on a variety of topics including business, politics, technology, sports and entertainment.

In 2008, Lammers tapped into his love of baseball to create NoNoHitters.com, a website dedicated to the Mets’ seemingly futile quest for its first no-hitter. For the 4½ years between the site’s creation and Johan Santana’s first Mets no-no in 2012, NoNoHitters.com blossomed into the Internet’s online gathering point for all things related to no-hitters, garnering press coverage in the New York Times, the Wall Street Journal, the New York Post and more. He lives in Sioux Falls, SD.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

Join our newsletter to receive more interviews and tips on how to get published. 

Stacy McAnulty, National Novel Writing Month Pitchapalooza winner

National Novel Writing Month to Book Deal

We at The Book Doctors love National Novel Writing Month (NaNoWriMo). For those of you who don’t know, they are an organization that gets together in informal ways all over the world, and in the month of November, WriMos (NaNoWriMo participants) write 50,000 words. No plot, no problem. Many, many writers have gone on to get book deals after participating. Every year, we do an online Pitchapalooza with NaNoWriMo, and we get some fantastic pitches. One of our winners, Stacy McAnulty, had such a great pitch, and wrote such a wonderful book, that she got a book deal. Her book is out now, so we wanted to check in with her to see what it was like to go from NaNoWriMo to getting a book deal. We’re doing another online NaNoWriMo Pitchapalooza until March 31, 2016. See below for details.

ANY PARTICIPANT WHO BUYS THE ESSENTIAL GUIDE TO GETTING YOUR BOOK PUBLISHED The Essential Guide to Getting Your Book PublishedGETS A FREE 20 MINUTE CONSULTATION  WITH THE BOOK DOCTORS (email with proof of purchase to Sterryhead@Gmail.com)

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The Book Doctors: What were your favorite books as a kid, and why?

Stacy McAnulty: We’re starting with the question that always embarrasses me because I didn’t read as a young kid. I can remember sitting in fourth grade with the book How to Eat Fried Worms open on my desk, and instead of reading the words, I literally counted them. I’d count all the words, then turn the page so the teacher would assume I was quietly reading.

Also, we didn’t have many books in the house. I remember enjoying Little Golden Books and the picture book The Fourteen Bear Summer and Winter (which was held together with duct tape).

I didn’t fall in love with a book until high school, and that was Pillars of the Earth by Ken Follett. I never counted the words in that book. It’s about 1,000 pages; the word count must be in the mid six-figures. That novel blew me away and was also held together with tape.

TBD: What made you want to do something as ridiculous as write a book?

SM: It is ridiculous! It’s a crazy challenge similar to climbing Mount Everest or swimming the English Channel. But I guess what appeals to me about writing a book (over climbing or swimming) is you can do it in your PJs. And while eating gummy worms. And you likely aren’t going to fall to your death or be eaten by a shark. Not much physical danger involved in writing a book. Though today my right shoulder is a little tight.

I have to write. It’s almost a sickness. Plots, crazy ideas, and conversations with imaginary characters are constantly running through my head. The only way to get these persistent thoughts out of my head is to write them down (or type them up). Maybe it is a sickness?! Multiple Mass Ideas Sickness. Obsessive Writing Disorder.

TBD: Where did you get the idea for The Dino Files series?

SM: My son asked for a “real-life dinosaur” for his fifth birthday. Obviously, he was about sixty-five million years too late. I started writing the first draft for him. I’d write a chapter during karate class and read it to him immediately after. It was great motivation having someone eager to hear the next segment of the story.

TBD: What were some of the joys and difficulties of writing in the voice of a kid?

SM: I’ve been told I’m immature (not sure if it was meant as a compliment, but I’ll take it). I like to joke around, and I love to learn. Isn’t that the makings of a kid? Children get to be crazy. They can blow a giant bubble with gum and truly believe this is a reasonable transportation method for traveling to the moon. Their world has many rules. Don’t touch that. Don’t go there. Quiet down. Be still. But their imaginary worlds are still full of endless possibilities. Gravity? We don’t need no stinkin’ gravity. Writing for kids lets me be a kid.

As for difficulties? There are some limits to the language and sentence structure. Fortunately, I have a limited vocabulary. You don’t want to discourage a reader, but you also don’t want to talk down to a kid. They’ll pick up on that quick. The biggest challenge in The Dino Files series is the word count. My editor wanted between ten and eleven thousand words. We needed to leave room for Mike Boldt‘s pictures and teaser chapters for the next book. That meant reducing the first manuscript by twenty-five percent. Cutting can be harder than adding words. At least for me. I had to slash jokes, description, and even characters. I learned to stay true to the story and focus on the action.

TBD: Did you have kids read the book as you were developing it?

SM: In general, I only share my work with the kids I cook dinner for–which is a small group of three. As I mentioned, I read the first draft to my son as I was writing it. Unfortunately, young kids don’t appreciate revision. When I created the next draft, I asked my son if he wanted to hear it. The answer was no. Luckily, I have two other kids. My eldest is a teenager. You want honest feedback? Ask a teen to critique your work. She read the next few drafts aloud to me. It’s great to hear your words interpreted in someone else’s brain and mouth. She also loved to point out my inconsistencies, and she would yawn dramatically at the boring parts (which have all now been cut!).

TBD: How did you go about getting your book deal?

SM: I’d published a picture book in 2013 with a small press (unagented). I knew that if I wanted a career, an agent was vital. I entered contests and went to conferences. But, in the end, I was pulled from the dreaded slush pile. I queried my now-agent with a picture book. I was sending out about a dozen queries a month. Lori Kilkelly offered representation based on that book, but I asked her to read The Dino Files before I accepted her offer. I wanted to know if she liked my longer works as well. Lori did see potential in The Dino Files. Potential is code word for needs another revision.

About seven months later, we went out with The Dino Files. Random House Kids replied a few weeks later: What a great read! Does the author have ideas for future books in the series? Those are the moments writers live for.

TBD: What are you doing to promote and market your book?

SM: Marketing a book for kids is tricky. You want to connect with the reader, which, for The Dino Files, are kids ages seven to ten. But this demographic doesn’t have Twitter or Facebook accounts, not to mention credit cards for online buying or the ability to drive the minivan to the bookstore. So I need to connect through the adults in their lives first. I offer free Skype visits for classrooms. I’ve created a website with printouts and videos that parents and teachers can share with their kids. I’ve sent postcards to libraries and bookstores. I know there are dino-loving kids out there. I want to meet them. I want them to tell me I say Deinonychus wrong. I want them to tell me what kind of dinosaur would make the best pet. I want to inspire future paleontologists (and future writers!).

TBD: It’s so exciting to get a three-book deal. Are you already working on the next book?

SM: All the books are done and hitting shelves this year! The Dino Files series is intended for kids in elementary school. We hope they fall in love with the first book. And if they do, we can’t expect them to wait a year for the next book. Kids are binge readers. They want more. We are ready to give them more.

I’m currently working on a middle-grade novel about a twelve-year-old math savant. She has been homeschooled and is technically ready for college, but her grandmother insists she give public middle school a try first. And I’m always working on picture books.

TBD: How did National Novel Writing Month help you write your book and get it published?

SM: Full disclosure, the first draft of The Dino Files was not an official NaNoWriMo win. The word count was only twenty thousand. (And the printed version is under eleven thousand.) But I have completed the fifty-thousand-word NaNoWriMo marathon three times. NaNoWriMo makes you accountable. Resolutions, promises written on sticky notes, self-imposed deadlines–none of these have the power and prestige of NaNoWriMo. NaNoWriMo could only be improved if, somehow, they could send an electric shock through your keyboard when you failed to meet a daily goal or if there was a multi-million-dollar cash prize at the end.

TBD: We hate to ask you this, but what advice do you have for writers?

SM: Yep, this is a tough question. Luckily, I have a definitive answer on what all writers must do. I’ll call it Stacy’s Top Commandments on Writing.

  1. Never talk about your first draft. (This is actually one of Stephen King’s rules.) If you’re telling your spouse or your hairdresser or your hedgehog all about your next project, you’re wasting your breath. Unless your hedgehog can take dictation. These people likely don’t care. Or at least, don’t care as much as you do. And when you actually sit down to write your story, it’ll feel like work. So when a coworker or a neighbor asks what you’re working on, just give them a title. But be vague. Maybe something like Sunset at Dawn.
  2. Carry a book everywhere. No, not your phone with a book app, not your Kindle, and definitely not a tablet. Writers read. If you’re carrying a book everywhere, you’re likely to read it. And it’s good karma to “advertise” another writer’s book.
  3. Compare yourself to everyone. Let’s be serious. You’re going to do it anyway. I’m just giving you permission. That way, you won’t feel guilty. Compare yourself to bestselling authors. Compare yourself to the guy in your critique group that just got a six-figure deal for a memoir about camping with his three-legged dog. Compare yourself to Jennifer Lawrence (because we all secretly want to be Jennifer Lawrence or her best friend). When you’re done comparing, move on to number four.
  4. Write every day. I hate this rule. It’s a cliché at this point like New Year’s resolutions and diets that start tomorrow. But…I do believe this strategy (can you call three words a strategy?) works for a first draft. You must add to your work in progress each day. Or you risk your pesky muse fleeing the scene.
  5. Get professional help. Of course, you may need help for your physical and mental problems, but I’m talking about your plot problems. Your character problems. Your spelling problems. You need to invest in yourself. I draw this inspiration from Vin Diesel. (Aren’t we all inspired by Vin Diesel?) He told a story on a talk show about saving up forty-some thousand dollars. Instead of buying a car or something flashy, he invested that money in himself. He made a small film with a friend to showcase his talent. That little movie led to a role in Saving Private Ryan. So if you are debating between buying a BMW and taking a writing class, take the class. Deciding between buying a Tesla and hiring an editor, get the editor. (Warning: And if you have forty-thousand dollars to pay an editor, I’m totally available.)
  6. Celebrate good times! It’s easy to get excited when an agent offers representation or when a publisher makes a deal or when a review is accompanied by a star. We know those are the rare, exciting moments in a writer’s life. But we must also celebrate the other big moments. When you type ‘the end’ on a manuscript, you deserve a dinner out. When you come up with that ultimate plot twist after you’ve been brainstorming (and crying about it) for a week, you deserve a glass of your favorite beverage. When you recover your work in progress from a fried hard drive, you deserve a glazed donut with sprinkles. (Guess how I spent my morning?) Take the time to celebrate your victories.
  7. You need writer friends. Of all my rules, this is a must. I would not be a published author without the support of my writerly friends. Your family won’t understand your problems and frustrations. Unless you are a family of writers. Your non-author friends won’t understand plot arcs and rejection letters. Your neighbors don’t understand these acronyms: WIP, YA, ARC. Writer friends can empathize like no others. They will listen for hours about rejection letters while your mom will give you two minutes (tops!) and then she’ll suggest you try something new like painting because you always liked to color when you were a child. Just today, a writer friend convinced me not to quit a project I’ve already sunk a year of my life into. Writer friends have given me advice on everything from how you organize an author visit, to how long should I wait before following up with an editor, to does this author photo make me look fun or crazy? Writers, while not exactly a rare breed (nine out of ten retirees are working on a memoir, and the other one has a picture book called The Adventures of [insert some animal that her grandson just loves]), work best in a nurturing, warm community. Just like bacteria.

Sixth Annual NaNoWriMo Pitchapalooza

For those of you not familiar with Pitchapalooza, here’s the skinny: You get 250 words to pitch your book. Twenty-five pitches will be randomly selected from all submissions. We will then critique the pitches online so you get to see what makes a great pitch. We will then choose one winner from the group. The winner will receive an introduction to an agent or publisher appropriate for his/her manuscript. We will also crown a fan favorite who will receive a free one-hour consult with us (worth $250).

Beginning February 1, 2016, you can email your pitch to nanowrimo@thebookdoctors.com. Please do not attach your pitch, just embed it in the email. All pitches must be received by 11:59PM PST on February 29, 2016. The 25 random pitches will be posted on March 14, 2016. Winners will be announced on April 1, 2016. Anyone can vote for fan favorite, so get your social media engine running as soon as the pitches go up!

Learn more about the sixth annual NaNoWriMo Pitchapalooza here.

Stacy McAnulty grew up outside of Albany, New York and received her B.S. in Mechanical Engineering from the University at Buffalo. She currently lives in Kernersville, NC with her three children and two dogs. The Dino Files chapter book series follows a nine-year-old dinosaur expert, his paleontologist grandparents, a cat named Saurus, and fossils that might not be so extinct!

Join our newsletter to receive more interviews and tips on how to get published. 

writers conferences

Writers Conferences 101: Can You Get a Book Deal?

Can writers get book deals at writers conferences and workshops? Yes! It’s incredibly important to put yourself in the company of literary agents, editors, publishers, and other writers. Writers conferences and workshops are the single easiest way to make this happen. Learn how to make the most of your writer conference/workshop experience by watching our most recent video.

Click here to watch the video.

On February 13, we’re leading a step-by-step conference to take writers through the entire publishing process. We’ll remove the smoke and mirrors from the confusing world of publishing to help you find your path to a successfully published book.
  • Publishing: Traditional, Independent, or Self?
  • Perfect Your Pitch
  • Locate, Lure, and Land the Right Agent
  • Pitchapalooza
  • And More!
Thank you to Changing Hands Bookstore for having us. We hope you’ll join us on February 13th.
Roxanna Elden

How to Publish Books in Different Genres: Roxanna Elden on Books, Dogs, Kids and Agents

We first met Roxanna Elden at Miami Dade College where we were teaching a class on publishing. From the second she opened her mouth (which she did frequently) it was obvious she was a published author waiting to happen. She asked so many questions. And they were good questions. She was funny, she was engaged, and she had a great idea for a book. In fact, after many trials and tribulations, she got that book published, and now she has a second book coming out. So we thought we’d check in on her and see how the process went.

To read the full interview on the Huffington Post, click here.

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The Book Doctors: After the success of your first book, See Me After Class, what made you want to write a picture book for kids?

Roxanna Elden: The idea came from watching my dog, Rudy, as he adjusted to having a new baby human in the house. Like a lot of dogs, Rudy was the “baby” of our family before we had kids. Ever since, he’s had to deal with all kinds of indignities–pulled ears, missed walks, and lots of interruptions to his couch naps. And, of course, he has had to learn to share the spotlight. A little after Rudy’s first new human was born, I was suffering pangs of “pet parent guilt,” and called my friend, Ginger. She already had two kids at the time, and she noted the similarities between Rudy’s situation and what older siblings go through when a baby comes along. She also just happens to be one of the Chicago-land area’s top illustrators. By the end of that conversation we had a book in the works.

TBD: Since your first book was nonfiction, did you have to find a new agent, develop new social media outlets, or find a new publisher?

RE: Same agent: magnificent Rita Rosenkranz. New publisher: marvelous Sky Pony Press. There is a bit of crossover from the audience of See Me After Class, because some elementary teachers have told me that they’re reading the book with their students, and high school writing teachers sometimes do picture book projects. And, of course, lots of teachers are moms and dads and dog lovers. We are in the process of posting lesson materials on a popular lesson-sharing site called Teachers Pay Teachers. Despite the name of the site, everything in Rudy the Dog’s “store” will be free.

TBD: Obviously your two books are in very different categories, but what did you learn from your first book that you were able to apply to this new book?

RE: The whole publishing process, from pitching the book to working with editors to looking for ways to connect with readers, was actually similar for both books. The Essential Guide to Getting Your Book Published was my road map through the process the first time, saving me years of trial and error. For this book, I reread the sections I needed to review and also ordered a copy for Ginger. The main lesson I learned from my first publishing experience is that marketing a book is (a) ongoing, and (b) unpredictable. With See Me After Class, I’ve done hundreds of different things over the past ten years to get the book into the hands of teachers who would love and benefit from it. These efforts ranged from epic to tiny, and the results ranged from total wash to big break. There hasn’t been a recognizable pattern. For authors, if you do 100 things and only 6 pay off, the temptation is to wish you could have saved the time of doing the other 94 things. But it’s important to remember that what “worked” wasn’t the six lucky breaks you got. It was the fact that you tried 100 different approaches.

TBD: How did you go about getting your book deal for your new book?

RE: Our agent, Rita Rosenkranz, showed it to Jenny Pierson at Sky Pony, and she made an offer on it immediately. Having gone through the publishing process already, I knew this was pretty rare. We all had a conversation and by the end of it, Ginger and I both agreed that Sky Pony would be a great fit for the book.

TBD: How are you planning to promote and market this book?

RE: We have a website, www.rudythedog.net, where people can sign up to have Rudy send birthday cards to their favorite little humans and pet birthday cards to their pets. Also, because Rudy the canine-narrator is based on my real-life dog, we made a stamp out of Rudy’s paw so he can “paw-tograph” books at book signings. We’ve authorized kids in six different cities to be paw-thorized paw-tograhers. They have a stamp and a notarized letter that lets them sign copies on behalf of Rudy. And I spend more time than I’d like to admit thinking of dog-related puns.

TBD: Have you learned anything about picture books from being a teacher?

RE: No one knows better than teachers how important it is to read to kids as often and as early as possible. I’m hoping that as both a teacher and children’s book author, I can find creative ways to help more parents read to their children in ways that encourage a love of books and develop early reading skills. We’ve already put a reading guide on the website that describe some skills any adult can help kids develop, and we’re working on more materials now.

TBD: What was it like working with an illustrator?

RE: In most cases, the publisher buys the book and then chooses the illustrator, so our experience is unusual, but in this case I pitched the book as a team with illustrator, Ginger Seehafer. The two of us are longtime friends–we met about 20 years ago as the only female caricature artists at a Six Flags theme park. That was the end of my career as an artist, but Ginger went on to become a top professional illustrator, doing work for big companies like Glade, Tropicana, and Hotels.com, all the way down to small companies just getting started. She had done my sample cover art when I was pitching See Me After Class, so I knew how good she was at turning verbal ideas into pictures without losing anything in translation. While discussing the book, we kicked ideas back and forth in both text and visual form until we came up with a final product. My description or text might spark an idea for Ginger, or she might send a picture that gave me an idea for a line in the book.

TBD: How did you determine how much text and how much picture would be on every page?

RE: We have a pretty good sample size of kids in the 2-6 year old age range, so for early drafts we just thought about what they would understand. Then we worked with the editors at Sky Pony, Jenny Pierson and Julie Matysik, who had experience with children’s books and helped get the book into its final form.

TBD: What you want readers to take away from this book?

RE: We hope it will help older siblings adjust to having a new baby in the house–and reassure them that it’s okay to have mixed feelings about sharing attention with another little human. (From what I’ve heard, I was horrible when my sister was born, and now we are best friends.) We also want to calm the nerves of new parents whose dogs used to be the baby of the family and who are now experiencing “pet parent guilt” as they find themselves juggling vet and pediatrician visits, dog feeding and baby feeding, and yeah… maybe have forgotten to clip the dog’s nails for a while, okay?

TBD: We hate to ask you this, but what advice do you have for picture book writers?

RE: Young children read books differently than adults do. Adults form a mental picture of the action as they read the words. Kids mostly look at the pictures while someone reads the words aloud to them, so the picture has to tell part of the story. Ginger and I learned this the hard way. There was a page in the book where we had put an exclamation point over Rudy’s head to show that he was surprised. In the first round of comments, the editors pointed out that punctuation marks don’t mean anything to kids who can’t read yet.
Roxanna Elden has been a teacher for eleven years and is the author of See Me After Class: Advice for Teachers by Teachers. Her inspiration for Rudy’s New Human came from watching her dog, Rudy Elden, as he adjusted to having a new baby human in the house. She lives in Miami, Florida, with Rudy and his (now two!) little humans.

Ginger Seehafer is an illustrator who works as a commercial storyboard and
concept artist in the Chicagoland area. She studied at the American Academy of Art and started her art career as a caricature artist at Six Flags Great America. Ginger loves making art that inspires joy and creativity, especially in children who may become future artists themselves. She lives with her husband, two little humans, and two cats in Roselle, Illinois.

Rudy Elden has been a professional dog for eight years and is making his literary debut as the canine narrator of Rudy’s New Human. He likes lunchmeat, cheese, long naps, and medium-length walks.

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How to Get Published Successfully Conference and Pitchapalooza, Saturday, February 13, 2016

Can You Land an Agent or Book Deal at a Writers Conference?

Yes! Look, you can’t call up HarperCollins and say, “Hello! I’ve written a great book, could I please speak to Mr. Harper or Mr. Collins?” If you’re an unknown quantity, and you aren’t sleeping with someone at a literary agency–or even if you are, in some cases–it’s virtually impossible to get face time with a publishing professional, be it an agent, editor, or publisher. Your blind query is usually dropped with a plop into the slop of the dreaded and aptly named slush pile, where it is then skimmed over by an eighteen-year-old unpaid intern. The fate of your book, the object of your passion and hard work, is frightfully beyond your control. Luckily, at the best writers conferences and workshops, and even some of the top-drawer bookfairs and festivals, you can personally meet, speak with, and sometimes even pitch to real publishing professionals. We know. We’ve met amazing writers at all of these places and helped them get book deals.

“I’d already begun the pitch process by mail and email, and it felt like yelling into the void most of the time,” recalls Roxanna Elden, whose experiences looking for an agent to represent her first book are all too typical. “There were agents who took six months to respond to emails, and one who asked me to send a hard copy of the manuscript overnight, then rejected me weeks later with a one-line, all-lowercase email that said something like, ‘love the title but not for me sorry.'”

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Nura Maznavi and Ayesha Mattu thought they had won the lottery when they almost immediately landed an agent. Their agent shopped their proposal to a dozen big New York City publishers and one by one they were rejected. “Soon after,” Nura explained, “our agent dumped us because she no longer had faith in the project.”

Roxanna, Nura, and Ayesha knew they needed to get in front of professionals. Roxanna signed up for Miami Writers Institute, an annual conference at Miami Dade College. There, she attended a talk by agent Rita Rosenkranz. “By this time, I had perfected my pitch and built my platform and had some idea of what I hoped to find in an agent. Then, in her talk, Rita mentioned that many agents wrongly ignore books for niche markets, which my first book was. She also said she was looking for authors who showed the willingness to hustle to promote their work. Everything she said made her seem like an incredibly good fit for my work. I walked up to her after the talk, handed her my card, and emailed her as fast as I could. She answered my email within 24 hours… and still does!” Rita went on to sell not only Roxanna’s first book, See Me After Class, but also her children’s picture book, Rudy’s New Human.

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Nura and Ayesha took themselves to Litquake, San Francisco’s biggest literary festival. They signed up for an event we do around the country called Pitchapalooza (think American Idol for books), and they won an introduction to an agent or editor who was appropriate for their book, Love InshAllah: The Secret Love Lives of American Muslim Women. One call later, they had a book deal. “A year later, our book was published and we were on the front page of the New York Times Arts section. And, two years later, we had a follow up book, Salaam, Love: American Muslim Men on Love, Sex & Intimacy!”

But just attending a writers conference, workshop, or book festival is no guarantee of a book deal. How you present yourself (and to whom) matters as much as your idea and your book. You have to pick the right agent or editor. Present yourself as a complete package. Seize every opportunity at just the right moment.

Lana Krumwiede, whose attendance at the James River Writers Conference helped land her first book deal for Just Itzy, advises, “Be as prepared as possible by researching the agents, editors, and authors who will be speaking. You’ll get more out of the conference that way and you’ll feel more confident talking to people. Get out there and talk to people! Ask (appropriate) questions and take in as much as you can. And if you have an appointment with an editor or an agent, don’t fall into the trap of thinking of it as your ‘one big chance.’ There is no such thing as ‘one big chance.’ You will have as many chances as you create for yourself.”

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Victoria Skurnick, a literary agent at Levine Greenberg Rostan Literary Agency, has this advice for first-time attendees, “There are ways to an agent’s heart at conferences for writers. The first is–be normal. This is harder for some people than you might have thought. The second, be helpful. The people who provided me with a club soda when they noticed my voice cracking, who offered to pick me up and drive me to a dinner far away–I will be grateful to them for the rest of my life.”

We agree. Here are our top ten tips for scoring at a writers conference, workshop, or bookfair.

The Book Doctors Top 10 Tips for Scoring at a Writers Conference, Workshop or Bookfair

  1. Look good, smell good, and don’t be late. Pretend you’re a guest on The Today Show–act and dress accordingly.
  2. Be respectful of publishing professionals. Don’t just blast over and bombard them. Be patient, wait for your opening. Never pitch your book unless they ask you to, and if they do, don’t go longer than a minute. And please, we beg you, don’t follow them into the bathroom! This has happened to us more times than we care to remember.
  3. Listen more than you talk. Your goal should not be to pitch at all costs. Better to have a good conversation where you get to know an editor or agent.
  4. Research! Make sure the event caters to the kind of book you’re selling. Make note of who is presenting, and plan your approach for whom you want to meet. Sign up early. The most valuable conferences, classes, and one-on-one sessions fill up fast.
  5. How do you get to perform at Carnegie Hall? Practice, practice, practice. The same is true with pitching books. Workshop your pitch whenever possible. Tell everybody who will listen, honing your delivery so the pitch lasts less than a minute. Try rehearsing with other conference attendees. All this extra effort will have a make-or-break effect on an agent or editor.
  6. Have an excellent business card and don’t be afraid to use it. Collect as many cards as you can.
  7. After the event, follow up all leads as quickly as possible. Early birds strike while the iron is hot.
  8. Network! Meet as many fellow writers as possible. These encounters can blossom into all sorts of relationships. You never know who will be published one day.
  9. Buy books written by people you want to approach. Ask them to sign the book for you if they are willing. Use this as an informal opportunity to make a connection.
  10. Connect! Do something nice for booksellers, agents, editors, writers, and publishing professionals using social media. If done actively and appropriately, tweeting, facebooking, instagramming, and blogging are great ways of staying in touch and making yourself a known quantity.

The Book Doctors travel across America to feature in writers workshops, conferences, bookfairs, and festivals. On February 13th, we’re holding a conference and Pitchapalooza at one of the greatest bookstores in the country, Changing Hands. If you are in the Phoenix area, come hang out, polish your skills, and maybe take a selfie with us. But please, don’t follow us into the bathroom.

How to Get Published Successfully Conference and Pitchapalooza, Saturday, February 13, 2016
 

To read this article on the Huffington Post, click here.

Roxanna Elden has been a teacher for eleven years and is the author of See Me After Class: Advice for Teachers by Teachers. Her inspiration for Rudy’s New Human came from watching her dog, Rudy Elden, as he adjusted to having a new baby human in the house. She lives in Miami, Florida, with Rudy and his (now two!) little humans.

Lana Krumwiede began her writing career by creating stories and poems for publications such as Highlights, High Five, Spider, Babybug, The Friend, and Chicken Soup for the Child’s Soul. Her first novel, Freakling (Candlewick, 2012) was named a finalist for SCBWI’s Crystal Kite Member’s Choice Award and an honor book for the International Reading Association’s Intermediate Fiction Award. Freakling was followed by two more novels, Archon (2013) and True Son (2015). Lana is also the author of the picture book Just Itzy (2015). She lives with her husband and daughter in Richmond, where she sits on the board of directors for James River Writers and runs a local writers’ group.

Ayesha Mattu is a writer, editor and international development consultant who has worked in the field of women’s human rights since 1998. She was selected a ‘Muslim Leader of Tomorrow’ by the UN Alliance of Civilizations & the ASMA Society and has served on the boards of IDEX, the Women’s Funding Network, and World Pulse. Ayesha is an alumna of Voices of Our Nations writers’ workshop and a member of the San Francisco Writers’ Grotto.

Nura Maznavi is an attorney, writer, and Fulbright Scholar. She has worked with migrant workers in Sri Lanka, on behalf of prisoners in California, and with a national legal advocacy organization leading a program to end racial and religious profiling. She lives in Chicago.

Victoria Skurnick came to Levine Greenberg Rostan Literary Agency after being at The Book-of-the Month Club for almost twenty years. As Editor-in-Chief, she relished the opportunity to devour every kind of book, from the finest literary fiction to Yiddish for Dogs. She also is the co-author (with Cynthia Katz) of seven novels written by “Cynthia Victor.”

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

Lee Wilson

Rebel on Pointe Among Year’s “Best of the Best”

Book cover of Rebel on Pointe: A Memoir of Ballet and Broadway by Lee Wilson

The Association of American University Presses has chosen Rebel on Pointe as one of five books that are “Best of the Best” published in 2014.

We connected with Lee Wilson during Pitchapalooza at pages: a book store in Manhattan Beach, California. She was so warm, funny, passionate and professional. And she had excellent posture! Turns out that was no accident. She had been a professional dancer at the highest level. She blew us away with her pitch. We helped her with her proposal, and with the help of the amazing Toni Bentley, we hooked her up with a fantastic publisher. Her memoir, Rebel on Pointe, came out Fall 2014 from University Press of Florida.

In other book news, Wendy Perron, editor at large for Dance Magazine, included Rebel on Pointe in her list of 2015 books that are “especially engaging.”

Rebel on Pointe 

In this uplifting memoir, Lee Wilson describes how she danced her way out of the stifling suburbs of 1950s Delaware into the opera houses of Europe and onto the Broadway stage.

Rebel on Pointe brings readers into a remarkable and visionary world. It gives new perspectives on legendary dance icons like George Balanchine, Rosella Hightower, Erik Bruhn, and Rudolf Nureyev. Wilson describes the process of becoming a professional dancer and gives insight into a dancer’s daily life both in ballet companies and on Broadway. She shares the pain of rejection, the thrill of her first bravos, and the unforgettable experience of arriving in Algeria without her passport to dance for men with automatic weapons in a Roman amphitheater.

In her quest for freedom from the patriarchal post-war society in America, she finds a home in the inclusive, multicultural community of dance.

Lee Wilson, author of Rebel on Pointe: A Memoir of Ballet and BroadwayLee Wilson danced for royalty in Europe, gun-toting revolutionaries in Algeria, American aristocrats at the Metropolitan Opera, and a galaxy of stars on Broadway. She is an award-winning writer, producer, and actor living in Los Angeles. Her website is: www.leewilsonpro.com.

 

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Valley Haggard

Valley Haggard on Writing, Working with Kids on Writing, and Life in 10 Minutes

We first met Valley Haggard (best name ever! And yes, it’s real!) when David was doing a reading at a tiny bookstore which shall remain nameless. The bookstore was so bad that they didn’t even realize there was a reading going on there that day. The reading itself took place in a tiny room with no windows that was approximately 120°. It was like a literary sweatbox. But Valley enjoyed what I did, we talked and bonded afterwards, and she invited us down to Richmond, Virginia, to make a presentation for the James River Writers Conference. It is truly one of the best writers conferences in America. And it was the start, as they say, of a beautiful friendship. We’ve now been presenting at JRW for over half a decade, and it’s proved to be a fantastic, symbiotic relationship. Which all began in a sweaty, nasty room in a sweaty, nasty bookshop at an event that only four people attended. Which just goes to show, you never know. Now Valley has a new book coming out, and we wanted to pick her brain about writing, book conferences, and how to get a book published.

To read the full interview on the Huffington Post, click here.

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The Book Doctors: First of all, what made you decide to do something as ridiculous as decide to be a writer?

Valley Haggard: When I was seven I told my mother I wanted to grow up to be a famous reader. Writing seemed like at least the next best thing! I was tone-deaf and came in last place in the dance competition, but words were my allies, my friends, my escape, my safety, my rebellion and my fluency. I felt weird in so many places in my life, but not in a book, not on the page. Writing is the one thing that has stayed with me through everything: moves, men, sobriety. Writing has saved my life so many times it seemed silly to abandon it for job security and health insurance.

TBD: What are some of your favorite books and why?

VH: The answer to this question could be a book in and of itself. Some books are friends, some are family, some are lovers, some I can’t get away from fast enough. Some whisk me away around the world and some bring me deeper into myself. Some of my most intimate literary relationships have been with Lolita, Beloved, One Hundred Years of Solitude, Love Junkie, Jane Eyre, Gone With the Wind, A Wrinkle in Time, Even Cowgirls Get the Blues, Our Tragic Universe, Claiming Georgia Tate, Chicken, Bird by Bird, Writing Down the Bones, The Glass Castle, Lit, Henry & June, Shantaram, Notes From Underground. And there are so many, many more but I love these books because they took me somewhere and made me feel something. I think back on them as pivotal experiences I had with great friends.

TBD: How did you get involved working with kids and writing, and what are some of the things you’ve learned by doing that?

VH: The summers after my sophomore and junior years of high school I attended the UVA Young Writer’s Workshop, the first structured setting where I was treated with the respect of a real writer instead of a kid with a hobby. This was life changing! I returned for two summers during college to be a camp counselor. I started Richmond Young Writers in 2009 in an upstairs gallery room of Chop Suey, an independent bookstore in the heart of Richmond, after getting laid off from my desk job at the alternative weekly the year before. Initially there were just a few kids but we grew, added teachers and staff and have become a year-round program offering scholarships, a full range of summer camps, homeschool and after-school classes. Our mission is to share the craft and joy of creative writing with kids who otherwise might have the very breath of their work beaten out by SOLs, grades and other harsh, critical realities that can sometimes be present in schools and/or life today. The kids are amazing. Their writing blows me away and gives me hope for the future of humanity.

TBD: What’s the idea behind The Write Life?

VH: Initially The Write Life contained the spillover from the author interviews and book reviews I couldn’t seem to cut off at their allotted word count. It became a catch-all for my book and writing related thoughts and ideas, a place to post my articles, interviews and the column I wrote for a women’s magazine about navigating life as a self-employed creative writer while being a mother and a wife with a mortgage. Now that I’m concentrating my time and energy on Life in 10 Minutes it serves as an archive of my writing journey.

TBD: How has teaching writing impacted you as a writer?

VH: Teaching holds me to the fire. I write in the classes I teach which holds me accountable in a totally different way than lecturing from a podium. If I suggest that my students be vulnerable and brave, that they turn their shit into gold, extract their own splinters one by one, take creative risks and not apologize for their work, I have to do it, too. The synergy of writing and then reading aloud in class creates both the feeling of performance art and a really safe testing ground for taking creative risks. When I read something to the class and no one dies or runs out screaming, it gives me the courage to bring my work to the public arena. To keep my heart and mind in the game, I always teach what I need to learn, and there seems to be a great universal aspect to this. I learn so much from my students’ writing and their process every single day.

TBD: Tell us about Life in 10 Minutes.

VH: Life in 10 Minutes is an online literary magazine that features slice-of-life stories written 10 minutes at a time. For years, students would write these fantastic flash nonfiction pieces in my classes and I’d say, “It’s brilliant! Send it somewhere!” I finally decided to become that somewhere, to create a platform for my students’ writing as well as my own. It’s amazing how much story, character, heart and emotion can be packed into 10 minutes. Submissions aren’t limited to my own students however, and since the website launched in January 2015, I’ve been thrilled to publish two unique pieces everyday from all over the world.

TBD: You’ve been involved with the James River Writers Conference for many years. What are some of the benefits of attending a writers conference in general, and what makes the James River Writers Conference special?

VH: Conferences are a great way to step out of the room you’ve been confined to for months and years laboring alone, to break the isolation of the writing life and to learn from writers outside of your particular genre. I had no idea how much I’d get from a mystery or YA or poetry or food writing panel! The James River Writers Conference is special because the panelists and authors are thrown into the mix rather than being cordoned off like exotic animals. You learn that writers and those in the publishing industry don’t bite–most of the time. JRW is especially great at providing southern hospitality, networking opportunities, connection, fellowship, the always amazing Pitchapalooza and a chance to meet and talk to real, live agents and authors in the flesh. This is hard to accomplish in your own basement or home office even with a really good internet connection.

TBD: You’ve also done lots of interviews and reviews with writers and books, what if you learned about writing in the publishing business from that?

VH: When I was pregnant I thought “If millions of other women have survived childbirth, surely I can too.” Interviewing authors has been a bit like that. Of course, the stories of persevering against all odds, getting laid off, being completely broke, and soldiering on despite rejection have been my favorite because I can relate. I’ve learned that publishing is a different art entirely from that of the writing process itself and that you have to have a certain business savvy and mindset to sell yourself. I’ve recently determined that if you want to have a baby–or publish a book–there’s certainly more than one way to do it. You don’t have to go the traditional route to become either a parent or an author. The publishing world is really opening up and changing in this regard.

TBD: Tell us about your new book.

VH: The Halfway House for Writers is the culmination of everything I’ve learned over a lifetime of writing, reading teaching and studying creative writing. It’s a guide for overcoming the damage that’s been inflicted on us by the world as well as the damage we’ve inflicted on ourselves. It’s a manual for both beginners and seasoned writers who are struggling with insecurity, self-doubt, writer’s block or simply being overwhelmed about how to start. It’s the process by which my students and I have found the heart of our true material and begun to heal our wounded writing selves. It’s a combination of my own experience, practical advice, encouragement and an invitation to begin.

TBD: I hate to ask you this, but what advice do you have for writers?

VH: Surrender your weapons. Stop beating yourself up. Seek shelter. Create some loose structure around your writing. Use your triggers as your prompts. Turn your shit into gold. Extract your splinters one at a time. Take baby steps. Free write. Handwrite. Learn how to be gentle with yourself. Set a timer for 10 minutes and see what happens.

Valley Haggard has written in short and long form all her life. She has slept in tents, hostels, motels, couches, tool sheds, log cabins, bunk beds and the bowels of a ship. She has lived in New York, Italy, Colorado, Arkansas and Alaska and now she lives in the house where she grew up in Richmond, Virginia. She has been a Waffle House waitress, dude ranch cabin girl, cruise ship stewardess and hotel maid. She has written book reviews, author interviews and first person columns; judged fiction contests and fellowships and sat on non-profit writing boards. She is the recipient of a 2014 Theresa Pollak Prize and a 2015 Style Weekly Women in the Arts Award. The founder and co-director of Richmond Young Writers, she leads creative nonfiction marathons, workshops and retreats for adults around Virginia. She is the founder of the online flash nonfiction literary magazine lifein10minutes.com and her book, The Halfway House for Writers, was published in October 2015.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Val Emmich and the Book Doctors at Word Bookstore. Sebastian Krawiec, photo

Pitchapalooza Winner Val Emmich Sells His Debut Novel

Pitchapalooza winner Val Emmich, David Henry Sterry, and Arielle Eckstut at Word Bookstore
David, Val Emmich, and Arielle at Word Bookstore (Sebastian Krawiec, Photo)

 

Arielle and I first met Val Emmich during Pitchapalooza at Word Bookstore in Jersey City. He wowed us with his pitch and walked away a winner. Now he’s sold U.S. and foreign rights for his debut novel, The Highs and Lows of Never Forgetting. Look for it in 2017 from Little, Brown.

Congratulations, Val!

Actor and musician Val Emmich sold his debut, The Highs and Lows of Never Forgetting, to Judy Clain at Little, Brown. Jeff Kleinman, at Folio Literary Management, brokered the North American rights deal for Emmich, who’s had roles on TV shows such as Ugly Betty and 30 Rock and the upcoming Martin Scorsese HBO show, Vinyl. The novel follows Joan, an aspiring 10-year-old musician who has the ability to recall her life in full detail. Knowing Joan’s gift, and that she knew his recently deceased partner, TV star Gavin seeks her out. But Joan, who herself worries about being forgotten, will share her recollections of Gavin’s partner only if he helps her write a song that will guarantee she is always remembered. The book sold in a flurry of foreign deals during last month’s Frankfurt Book Fair—it was acquired by houses in Brazil, Italy, Germany, and other countries—before it was sent to publishers in the U.S. It is also out for film, with Sylvie Rabineau representing it.

For more info, visit valemmich.com.

You can read the announcement in Publishers Weekly here.

Pitchapalooza

Pitchapalooza is the American Idol for books (only without Simon) and it works like this: Anyone with an idea for a book has the chance to pitch it to a panel of judges. But they get only one minute. The Book Doctors team up with guest industry insiders to form the judging panel. The Judges critique everything from idea to style to potential in the marketplace and much, much more. Whether potential authors pitch themselves, or simply listen to trained professionals critique each presentation, all Pitchapalooza attendees come away with concrete advice on how to improve their pitch as well as a greater understanding of the ins and outs of the publishing industry. At the end of each Pitchapalooza, the judges come together to pick a winner. The winner receives an introduction to an agent or publisher appropriate for their work. Join us for an upcoming Pitchapalooza. 

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Josh Funk, author

Josh Funk On the War Between Pancakes & French Toast, SCBWI & Getting Published

We first met Josh Funk at the New England SCBWI Conference. (If you’re not a member of this group and you’re interested in books for kids, as soon as you’re done reading this piece and sharing it with everyone you know, go join that group. If you haven’t been to one of their conferences, ditto.) We were struck with Josh’s fabulous combination of goofiness and seriousness. It’s something we aspire to at The Book Doctors. And when we found out his debut picture book was going to be dropping, we had a wonderful wave of serious goofiness come over us. It’s called Lady Pancake & Sir French Toast, and it’s a ripping barnburner full of outlandish action, heroic and dastardly characters, roller coaster rhymes and some absolutely fabulous illustrations by Brendan Kearney. So we thought we’d sit down with Señor Funk and see what’s new on Funk Island.

To read this interview on the Huffington Post, click here.
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The Book Doctors: First of all, congratulations. What did it feel like when you saw that first box of books arrive and you tore it open and there it was, your own baby book?

Josh Funk: Ahh, the Back to the Future moment: “If you put your mind to it, you can accomplish anything.”

Well, I didn’t exactly have the ‘open the box moment’ that you see in the movies (or at least that one movie). The first physical copy of Lady Pancake & Sir French Toast that I got a copy of was the one the Sterling sales rep gave to Porter Square Books (in Cambridge, MA). I got a tweet from a friendly bookseller at PSB who said she found my book, so I immediately rushed to Cambridge.

The first thing I noticed was the amazing design. I knew it was going to have an embossed cover with foil, but it was really stunning. The book creaked a little when I opened it. I had seen a digital copy, but the clarity of the images on the pages was overwhelming compared to seeing it on the screen. And I think it smelled a little bit like maple syrup.

And then I jumped around giddily for about ten minutes before the booksellers asked me to leave out of fear I was scaring away all of their customers.

TBD: Why in the name of all that’s good and holy would you choose to get into the publishing business? Have you had your head examined recently? Been checked for brain parasites?

JF: Haven’t had my head examined lately. It’s possible I’m housing parasites. But the real reason is that I always read a lot of books to my kids. One day I thought, ‘I can do this.’

But once I joined my first critique group, then attended my first Society of Children’s Book Writers and Illustrators conference, I realized I had a lot to learn. But I also noticed that the kidlit community is so warm and welcoming and just plain fun. I quit my fantasy football leagues and started taking writing more seriously.

I’d like to think that even if I never sold a book, I’d still be happy just to be a part of the kidlit world.

TBD: How did you go about getting a book contract not only for Lady Pancake, but also for your next two books which are coming out?

JF: In the May of 2013, I gave up on trying to acquire a literary agent. I was getting almost no responses to my queries. Out of 35 queries for Lady Pancake, 1 agent responded with a rejection implying she read it (or at least read the title). The other 34 were made up of 10 form rejections and 24 black holes. I felt I was better than that, so I submitted Lady Pancake to 10 publishers via snail mail.

Around the same time, there was an open submission period to Scholastic via author/illustrator Debbie Ridpath Ohi’s Inkygirl blog. The Scholastic editor was looking for material suited for ages 0-5, and the only manuscript I had written for that age group was Pirasaurs! (most of my picture books are geared toward kids ages 4-8).

And then as late summer rolled around, I finished revising another manuscript (Dear Dragon) and decided to send it out to publishers that accepted submissions via email and online form.

By early November, Scholastic told me they were taking Pirasaurs! to acquisitions, Dear Dragon had garnered interest from two small publishers, and Sterling made an offer for Lady Pancake & Sir French Toast. All of that, plus a personal recommendation from a friend helped me obtain representation with an (awesome) agent. Over the next two months, my agent finalized the deals with Sterling and Scholastic and found a home for Dear Dragon at Penguin/Viking.

And that’s how I got an agent and sold three picture book manuscripts between November of 2013 and January of 2014. I know it’s a non-traditional path, but I feel extremely fortunate with the way it worked out.

TBD: Hasn’t anyone told you that rhyming books don’t sell? How did you overcome this ridiculous idea, and why do you think people keep saying that?

JF: Oh, boy. I have thought about this a LOT. Many rhyming picture books get published every year. So why do people say not to write in rhyme? Why is there this stigma? Well, there’s a single simple reason.

It’s very easy to write bad rhyme.

And lots of people do (please note that if you’re reading this and you like to write rhyming picture books, I’m not talking about you).

Everyone grew up reading and loving Dr. Seuss. Therefore, many people think that picture books are supposed to rhyme. When they start writing picture books, that’s how they write them. This includes me.

It’s a flawed way of thinking. Not everyone is cut out to write rhyming picture books. It’s actually rather difficult. I personally believe that a good rhyming picture book has an added level of charm. But there are so many mistakes you can make when writing a rhyming picture book (mostly to do with rhythm, all of which I’ve discussed in depth on my website and while leading workshops).

But here’s the problem. When a literary agent receives a query for a rhyming picture book manuscript, there’s a 99% chance that it’s bad rhyme. And it’s not worth the agent’s time to read 99 bad rhyming manuscripts, just to get to the one good one. And I completely understand and agree with that policy. Add to that the fact that it’ll be nearly as hard for an agent to sell a rhyming manuscript to an editor. I truly believe that this is why my query response rate was so utterly abysmal (in retrospect, I shouldn’t have said that the manuscript rhymed in the query).

I overcame this hurdle by first worked very hard to improve my rhyming, spending lots of time reverse-engineering critique partners’ comments.

Second, I bypassed agents. An agent is (rightfully) concerned with a writer’s entire body of work and career. If you submit a single rhyming manuscript embedded in an email query and that’s all they have to go on, it doesn’t make you a particularly enticing prospective client. But an editor is more concerned with a single manuscript. It’s not that they don’t care about you or your career, but if they like a manuscript, rhyming or not, that’s all they have to commit to.

I figured I’d have better odds of someone actually reading my manuscript at a publishing house. And at least in this case, I was correct.

TBD: What are some of your favorite things about being a professional author? What are some of the most horrifying things about being a professional author?

JF: I love getting to meet fun people. Like other awesome authors I admire. And super cool teachers and librarians like those in the Nerdy Book Club. Seeing my son’s face the first time someone asked me for an autograph (part confusion, part amazement, part pride) – that was pretty cool. I also get to travel a little more than I used to.

Horrifying? I guess a Misery-type situation would be horrifying. Other than that, I’m all peaches and roses.

TBD: We are big lovers of pancakes and French toast around here. I, myself, leaned toward the pancake. Olive, our eight-year-old, often leans toward the French toast. I think you can divide all of humanity into these two categories. How did you come up with this fantastic idea for a book?

JF: One Saturday morning, I asked my kids what they wanted for breakfast. One said, “Pancakes.” The other said, “French toast.” “Pancakes.” “French toast.” “Pancakes!” “French toast!”

While the arguing continued, I checked the kitchen, and as you might have expected, all we had were waffles. To top it off (literally and figuratively), we had enough maple syrup left to fill a single square on a waffle grid.

It was on the way to the diner that I came up with the idea.

TBD: What was it like working with your editor? Illustrator? Agent?

JF: Zaneta Jung (my editor at Sterling) is terrific. We had one phone conversation discussing her revision notes, went back and forth for a week over email finalizing the manuscript, and that was pretty much it. Zaneta (pronounced ‘zuh-net-ta’) has so much energy and excitement for kids’ books. She has a great eye for picking out illustrators, too. She definitely had a hand in finding Brendan Kearney.

Like many author/illustrator relationships, Brendan and I didn’t really talk much (or at all). Rumor has it that the publishers like it this way. Author talks to editor editor talks to art director art director talks to illustrator. This way, the publisher maintains complete control of the message (good or bad). I’ve had nothing but good things to say about Brendan’s work on Lady Pancake, which I think have been relayed to him. I’ve had a handful of quick conversations with Brendan over Google chat, but that’s about it.

My agent, Kathleen Rushall, is a rock star! I was extremely fortunate to sign with her while she was actively building her picture book list. She represents picture books through young adult at Marsal Lyon Literary Agency and is strong in every aspect you’d want from an agent. She has a fabulous editorial eye, she has a good sense of what particular editors are looking for, she knows the business and contracts side, she’s extremely communicative, and she’s a genuine pleasure to work with. We, her clients, affectionately refer to ourselves at #TeamKrush. We even have a logo designed by author Jessie Devine for PitchWars.

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TBD: What do you see is the value of going to a writer’s conference? And specifically how has being a member of SCBWI helped you in your career and as a person?

JF: I think going to a writer’s conference is valuable at many levels of your career. If you’re brand new to the writing world, you’ll be able to learn the basics. It’s important to learn not only the craft of writing, but also about the industry and its expectations (e.g. picture book manuscripts should be around 300-500 words).

Once you’ve learned the basics, you might meet people who will ultimately become your critique partners (this has happened to me).

Perhaps you’ll read a picture book manuscript at an event’s open mic session, which will validate that you’re on the right track (also happened to me).

Maybe you’ll have a good time, make some friends, and get to watch the one-of-a-kind #Pitchapalooza led by The Book Doctors (again, happened to me).

Conferences avail the opportunity to connect with agents and editors for critiques or casual conversations (networking is so important).

SCBWI kickstarted everything for my writing life. In 2012, I attended my first New England SCBWI Regional Conference as one of about 700 attendees. And in 2016, I’ll be co-coordinating the conference alongside Heather Kelly, writer and founder of The Writers’ Loft (planning is already heavily underway for next spring’s event).

In 2016, we’re trying something new. We thought it might be nice to hear from (and get face time with) leading educators and booksellers. We’re bringing in a panel tentatively called “The Voice of Reading” with Elizabeth Bluemle (author, bookseller, blogger at PW’s Shelftalker), Donalyn Miller (teacher, author of The Book Whisperer and Reading in the Wild, Nerdy Book Club co-founder), Susannah Richards (professor, expert in all things children’s literature), and John Schumacher (AKA Mr. Schu, school librarian, newly appointed Ambassador of School Libraries for Scholastic Book Fairs).

SCBWI has helped me so much in such a short period, I’m grateful for the opportunity to volunteer my time to plan the 2016 (and 2017) NE Regional Conferences.

TBD: I hate to ask you this, but what advice do you have for writers?

JF: Keep writing. When you finish a manuscript, write the next one. It’ll be even better than the last. Networking is half the battle. I’ve written a 12-Step Guide to Writing Picture Books available (for free) on my website here.

TBD: And finally, how do you keep it so funky?

JF: I eat lots of candy corn. I wear Old Spice deodorant. And I’m 17% psychic.

Josh Funk is the author of Lady Pancake & Sir French Toast (Sterling), available now. Josh is also the author of the forthcoming picture books Dear Dragon(Viking/Penguin 2016), Pirasaus! (Scholastic 2017), and more. Josh spends his days as a software engineer writing Java code and Python scripts, and his nights and weekend drinking Java coffee and writing picture book manuscripts, alongside his wife, children, and assorted pets and monsters. Josh is a board member of The Writers’ Loft in Sherborn, MA, and the co-coordinator of the 2016 and 2017 New England Regional SCBWI Conferences. Find out more about Josh, his books, his schedule for public appearances, and more at www.joshfunkbooks.com and on Twitter at @joshfunkbooks.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, June 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Ann Ralph author

Ann Ralph on the Joys of Fruit Trees, Taking Care of Mother Earth, and How to Get a Book Deal Writing About Something You Love

We first met Ann Ralph when she won our Pitchapalooza with one of the greatest elevator pitches we’ve ever heard: The Elements of Style for fruit trees. It made total sense even as it was counterintuitive. It communicated something so clearly, with such economy, intelligence and style. She also presented it in such a smart, relaxed, fun and yet information-packed way you couldn’t help but sit up and pay attention. Plus, who doesn’t love a great fruit tree? So now that her book Grow a Little Fruit Tree: Simple Pruning Techniques for Small-Space, Easy Harvest Fruit Trees is out, we thought we’d pick her brain and find out exactly how she did it.

To read this interview on the Huffington Post, click here.

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The Book Doctors: How is your garden?

Ann Ralph: The garden is thirsty, but so far, so good. These dry winters are unusual and scary. Long, dry summers are nothing new. In most of California rain stops in May and won’t start again until November. I planted with this in mind. The plants on a hot bank behind my house do entirely without summer water. The roadside tree trimmers left behind a huge pile of chipped prunings last fall. This stuff is gold to me. I applied it as a deep mulch around my fruit trees and ornamentals. Mulch helps tremendously with transpiration. I water my established fruit trees only about once a month. Mulch improves soil quality and sequesters carbon, too.

TBD: How did you get started as a writer?

AR: Nursery work was meant to be a placeholder until I got a real job. I got waylaid in a composition class on the way to a respectable career, then abandoned pretense for the work I liked, low pay, the outdoors, a cavalcade of interesting questions, great people, and writing in my off hours.

TBD: What are some of your favorite books and why?

AR: However beautifully rendered, nonfiction is constrained by facts. I get more sustenance from the truth in fiction: I think of the Salman Rushdie character who cooks grievances into her chutneys. I wish everyone would read All the King’s Men, A Passage to India, and A Place on Earth. When our president quotes Marilynne Robinson, I feel sure we’ll be okay.

TBD: How did you get started as a fruit tree enthusiast? What are some of your favorite fruit trees and why?

AR: I grew up in the San Joaquin Valley. We were awash in fresh fruit all year long. I went out the front door for Meyer lemons. Neighbors left bags of nectarines on the front porch. Teachers, like my dad, graded and weighed peaches for Del Monte in the summertime. He brought home leftover lug boxes full of fruit. My mother canned peaches and apricots to tide us over until summer came again. I had no idea how good we had it until I left California for New York. This last weekend I visited friends in Ripon and came home with a huge box of tree-ripe grapefruit. There is never too much grapefruit at my house.

TBD: What were some of the joys and difficulties of taking your passion and turning it into a book?

AR: I had a good idea about what made fruit trees confusing and difficult for people, and what was missing from existing books on the subject. Storey asked me to double the content. How right they were! Every step in the process led to a better book. The photography was more complicated than I expected it to be. Marion Brenner was generous with her time and up for anything. The trees, weather, light, and backgrounds weren’t as cooperative. The photos took another year, the design a third. I sometimes despaired that I’d ever see the thing in print.

TBD: You’ve gotten some wonderful reviews. What did you do to promote and market the book?

AR: Storey Publishing has reach into the book business I could never have managed on my own. My sister has been a buyer for independent bookstores for thirty-five years. She drilled into me a sense of my shared responsibility for the book’s promotion. I knew my audience. I also knew I had a book that people needed and would want to buy. I have great garden connections from Berkeley Horticultural Nursery. I’m easily evangelical on the subject of fruit trees.

TBD: The environment is going through some terrible times. What do you think are some solutions to bring back a balance with nature?

AR: Humans wield a lot of clout in the natural world. The organics now in markets are there because we wanted to buy them. We can look to decisions we make everyday, regarding packaging for one. We’re drowning in plastic. Recycling is better than nothing, I suppose, but recycling plastics is a dirty business. I make yogurt at home. Its deliciousness aside, this small action by one person eliminates a need for hundreds of plastic containers. The environment doesn’t exist apart from us. We’re in the thick of it. For good or ill, we build it as we go.

TBD: How did you get a book deal?

AR: The Book Doctors pulled my name out of a hat at a Pitchapalooza at Book Passage in Corte Madera. They liked my pitch. I shopped a proposal around to several publishers with interest but without success, always on the heels of another fruit book. Arielle took the idea to Storey Publishing. I strengthened the proposal based on information from The Essential Guide to Getting Your Book Published. I’m sure that made the difference. I’m not just saying this because the Book Doctors happen to be asking the question. It’s true.

TBD: What advice do you have for fruit tree growers?

AR: Keep your fruit trees small enough to manage. I wish I could take credit for my favorite pruning advice. It came from a UC Davis seminar, “If you don’t know what to do, cut some stuff out.” Fruit trees are forgiving. If you goof it up, they give you another chance.

TBD: What advice do you have for writers?

AR: Let’s leave fruit advice to me and writing advice to Anne Lamott.

Ann Ralph is the author of Grow a Little Fruit Tree: Simple Pruning Techniques for Small-Space, Easy Harvest Fruit Trees. Publisher’s Weekly called the book “a thrilling read for the backyard farmer.” She is a fruit tree specialist with 20 years of nursery experience. She lives in the Sierra Foothills near Jackson, California.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, June 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

Melissa Cistaro on Horses, Mothers, Bookstores and How She Got Her First Book Deal

We first met Melissa Cistaro when she pitched her book to us at a Pitchapalooza we did for Book Passage (one of America’s great bookstores) in Corte Madera, California. We’ve been doing this so long we can usually tell when someone has a book in them and is capable of getting it out successfully. And we knew Melissa had the right stuff as soon as she opened her mouth. Arielle then made a suggestion to Melissa that she calls perhaps her greatest move as a Book Doctor: she told Melissa that she should get a job working at Book Passage. This is what separates the doers from the talkers. Melissa actually did it; she got a job at Book Passage. Eventually she became the person who introduces authors when they do events at Book Passage. Some of the greatest authors in the world come through that bookstore. Now Melissa gets to move from being the person who presents authors to the author being presented. So we thought we would pick her brain to see how she did it.

To read this interview on the Huffington Post, click here.

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The Book Doctors: How did you get started as a writer?

Melissa Cistaro: This may sound odd, but I think that becoming a mother is what turned me into a writer. Even in college, I still considered writing one of my greatest weaknesses. But when I saw my own child for the first time, I knew I had to figure out how to tell the stories that had been hiding inside of me for so long. I started taking classes at UCLA Extension, and it was there that I caught a glimpse of my writing voice–and after that, I couldn’t stop writing. I’ve always believed that motherhood opened a portal inside of me that gave me permission to write. If I hadn’t become a mother, I don’t know that I would have become a writer.

TBD: What are some of your favorite books and why?

MC: In the house I grew up in, we rarely had access to books. I was not a child who discovered books early–they came late for me, and when they did, I had a lot of catching up to do. One of the first books to completely mesmerize me was Arundhati Roy’s The God of Small Things. The language was magical and the story deep, evocative and riveting. I am often pulled into stories through language. Fugitive Pieces is another book that I drew me in with its incredible poetic narrative. Divisadero by Michael Ondaatje and a short story collection by John Murray called A Few Short Notes on Tropical Butterflies. Oh this is hard! I could go on and on with favorite books.

TBD: What made you decide to write a memoir?

MC: I started this story as a work of fiction. It was easier for me to dive into it as someone else’s narrative rather than my own. For years, I wrote calling myself Paisley Chapin in the story, but eventually I realized that I wasn’t very good at drifting away from the truth, as I knew it. Early on, I showed my oldest brother some chapters, and he said to me, “Sorry Sis, but this ain’t fiction you are writing.”

TBD: How has your family reacted to seeing themselves in print?

MC: The book was very difficult to hand to my father. There were many facets of our childhood that he wasn’t aware of–and it was definitely emotional for him to take in our story on paper. He has been exceptionally supportive of the book and, ultimately, a proud father. My brothers also have been generous and supportive. Naturally, there were some details that we recalled in different ways, and we have since had some great conversations about our childhood.

TBD: You attended a number of writing programs, do you recommend this? What are some of the benefits and liabilities?

MC: Classes and workshops were crucial along the way, as was being in a writing group. But I eventually got to a place in the process where outside input began to stifle me as a writer. The feedback was always helpful, but I also had to take responsibility for what I ultimately wanted to write. If there are too many voices and opinions, it can get overwhelming. I’ve become less fond of workshopping and more of a fan of having a few select and trusted readers.

TBD: Which helped you more as a writer, being an equestrian or a mom?

MC: Whoa–this is an interesting question. I don’t know if I’ve ever considered how riding has informed my writing. Communicating with an animal requires a great deal of paying attention and observing, and I think that certainly translates into the writing process. I once had to throw myself off of a horse that was running at full speed back towards the barn. I could see the low awning of the barn ahead, and I knew I had lost control of the horse. I didn’t want to end up trapped under the awning or thrown dangerously sideways–so I made a decision to pull my feet out of the stirrups and make a flying dismount. I skidded and tumbled across the hard summer dirt, landing safely (and sorely) between two spindly birch trees. I think, whether we are parenting or writing or on a runaway horse, we have to make big decisions and sometimes we don’t know precisely what the outcome will be.

TBD: Did working at a bookstore help you as a writer?

MC: Absolutely. If you love books as much as I do and you want to surround yourself with likeminded people, go work in an independent bookstore. Bookstores are magical places. You get to meet authors and discover new books all the time. I also learned how sometimes great books thrive and other equally beautiful books can sometimes wither on the shelf. I quickly gleaned how subjective the world of books can be. This armored me with very humble and realistic expectations as I entered the publishing arena with my own book. I had a completed draft of my memoir when I started working at Book Passage, and I decided to put it in the proverbial drawer for a year so that I could focus on other books and writers. This turned out to be a great plan. Two years later, I met my agent during an event I was hosting.

TBD: You’ve now seen hundreds of authors do events as event coordinator at one of the great bookstores in America, Book Passage. What mistakes do you see writers make? What do you see successful writers do to help themselves?

MC: I have a wonderful job at Book Passage. I introduce authors, host their events and read their books. I find that, for the most part, authors are truly grateful and gracious when they come to Book Passage. I learn something new at every event I host. I take a lot of notes. We always appreciate when an author stands up and thanks independent bookstores for the hard work they do, because we certainly don’t do this work for the money (which is essentially minimum wage). We do this work because we love working in the landscape of books, ideas and creative minds.

TBD: What did you learn about finding an agent and publisher that you think unpublished writers would like to know?

MC: Finding that one agent who falls in love with your work takes a lot of time, patience and perseverance. Expect a lot of rejection. Grow extremely thick skin. And keep writing what you are passionate about. When you find that agent, he or she will help get your manuscript to the right publisher.

TBD: What was the most frustrating part of the publishing process from idea through publication for you?

MC: The publishing process is full of surprises, and I had to carry my publishing “Bible” with me everywhere. (That would be your book!). There are so many things you can learn in advance about how publishing works and all the ins-and-outs of contracts, deals, agents, etc. It was a tremendous and challenging education going through the publishing process. The landscape is changing so fast that it’s important to keep informed.

TBD: How can writers best use their local bookstore to help them in their career?

MC: Support your local bookstore. This means buying books from them. Attend their events. Introduce yourself to the booksellers and tell them you are a writer. Ask them for advice and book recommendations. Let them know you are not going to get a recommendation and then go purchase it for a few dollars less online. Today there are many ways a writer can professionally self-publish their books, and this is a perfectly respectable way to publish. Just make sure that if you self-publish, it’s on a platform that is compatible with independent bookstores. (This is kind of homework that authors need to do when looking into their publishing options!)

I love meeting writers at Book Passage, and I appreciate when they tell me they are a writer because I know how challenging this path is. I also know that one day they may come in and tell me that their book is being published–and guess who is going to make sure that they get a reading at Book Passage?

TBD: What advice do you have for writers?

MC: If there is a story you need to tell, you must do it. You must keep writing and writing until you are both empty and full. No story is too small for this world.

Melissa Cistaro‘s stories have been published in numerous literary journals, including the New Ohio Review, Anderbo.com, and Brevity as well as the anthologies Cherished and Love and Profanity. She works as a bookseller and event coordinator at Book Passage, the esteemed independent bookstore in Northern California. Between the years of raising her children, writing, bookselling, teaching horseback riding, and curating a business in equestrian antiques – Melissa completed her first memoir, Pieces of My Mother.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, June 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

Jenny Milchman

Jenny Milchman on How to Get a Book Deal After Only 11 Years of Bitter Rejection

We first met Jenny Milchman when we heard about some crazy book tour she was doing that seemed almost as ridiculous as the book tour we were doing. Essentially, The Book Doctors have been on tour for seven years, during which time we’ve done over 300 events. We wanted to connect with Jenny to see how she was doing it, and maintaining her sanity. When we reached out to her, we found out she was not only a wonderful writer, but also a wonderful human, generous, smart, funny, down-to-earth, full of joy and expertise. Now that she has a new book out, we thought we might pick her brain about books and writing and yes, touring.

To read this interview on the Huffington Post, click here.

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The Book Doctors: How did you first become interested in being a writer?

Jenny Milchman: I don’t remember a time when I didn’t want to be one. In fact, the desire, or predilection, or bug apparently predates conscious memory. All of my [failed] college essays began with the line, “I wanted to be a writer before I knew how to write,” which came from an anecdote my mother told about how she used to write down bedtime stories that I dictated at the age of two.

TBD: How did you learn how to become a writer?

JM: I did a lot of workshop-type things between high school and college. Summer Arts Institute in New Jersey was formative, and I studied with poets like the late Kenneth Koch and Robert Kelly in college. But the way I learned to write a novel, a whole, structured work of long-form fiction, instead of just scribbling lines and starts until I’d lost interest, was by reading every book on craft I could get my hands on. I called it my self-inflicted MFA and during the years I was inflicting it, I must’ve read every book in the Writer’s Digest catalog. And a whole lot more. Albert Zuckerman of Writers House fame wrote a great book called Writing the Blockbuster Novel. Donald Maass wrote The Breakout Novel. Anne Lamott, Bret Lott, Stephen King, James N. Frey–not the scandalous one–the list goes on and on and on and on. Those authors schooled me more than any class.

TBD: What are some of your favorite books, who were some of your favorite authors, and why?

JM: Oh, gosh, this is always the toughest. Impossible really. I loved the great short storyists growing up. Shirley Jackson’s “The Lottery,” Richard Connell’s “The Most Dangerous Game,” W.W. Jacobs’ “The Monkey’s Paw.” Anything by O. Henry. I studied the Victorians in college and all three Bronte sisters, George Eliot, and Henry James were great favorites of mine. But perhaps the most visceral authors, the ones who really took my heart in their hands and squeezed it into a ball, were the great horror writers of the 1970s. Ira Levin, Frank De Felitta, David Seltzer, William Peter Blatty, and of course, Stephen King.

TBD: How did you get your first book deal?

JM: It took me 11 years, 3 agents, and 8 novels before I finally landed a book deal with Ballantine. How it happened required all eleven of those years: reading those books on craft, going to events at bookstores and seeing how real authors did it, building a circle that included people like you, David, and Arielle. But in the sense that big events do come to one single moment in time…this one rested on a favorite author, Nancy Pickard, who read my eighth novel in manuscript form and passed it on to her editor. I’ve been with the same editor for both books since my debut, and I hope we never part. My third novel is dedicated to Nancy and our mutual editor.

TBD: How do you deal with rejection?

JM: I stomp around and cry and whine and scream. I break computer screens. Seriously–when a much loved bookstore declined to do an event with me, I fell over my computer sobbing, and the screen cracked. Don’t be like me.

Rejection is part and parcel of this business–I just never got good at accepting that.

TBD: What is your new book about?

JM: If I tell you that As Night Falls is about two convicts, one huge and one wiry, who escape from an Adirondack prison, would you believe me? But on a deeper level, it’s about how a mother’s love can go awry, twisting and thwarting the generations to come in one unending double helix. When the convicts encounter a family contained by a snowstorm in their mountain home, only unveiling the secrets from the past will allow for true escape.

TBD: Why did you decide to go on the longest book tour in the world, and how did you go about setting it up?

JM: You mean not every published author rents out her house, trades in two cars for an SUV that can handle Denver in February, asks her spouse to work from the front seat while the kids are car-schooled in the back, and hits the road for 50,000 miles? What??? Oh right. My publisher was skeptical, too.

But when it takes you eleven years to get published, you either make a lot of friends or a lot of enemies along the way. I was lucky enough to make friends. And when I finally had a book released, I wanted to go out and thank them. Face-to-face. The world’s longest book tour–as Shelf Awareness called it–made the virtual world come alive, and that’s when true magic sparks, in my opinion.

And since my debut novel wound up going into six printings in hardcover, people became a little less skeptical. I wouldn’t say that sending authors around the country for seven months has quite become standard operating procedure for the Big 5, but by this third tour, my publisher is helping with some of the events and cost. I also have a crack independent publicity team, a husband who is heck at the traveling salesman problem, and a whole country full of bookstores, libraries, book clubs, writers’ organizations like Sisters in Crime, and readers who know how to unroll one beautiful red carpet.

TBD: What are some of the things you love and hate about being a professional writer?

JM: At the risk of sounding Pollyanna-like, I love almost everything about it. This might be due to the whole eleven year thing. I’m so grateful to be where I am–I get paid to make up stories, and people actually want to read them–that sometimes it’s hard to see straight. Seeing a book of mine on a shelf catapults me back to the time when I was a small child, reaching for a title, and knowing that a whole other world awaited me inside. Getting to meet other writers, readers, booksellers, librarians, reviewers, journalists, interviewers, radio personalities, TV hosts, editors, agents, publishers…the people who keep this world of words churning, is an honor every single time. Writers’ conferences are sheer bliss for me. There’s one coming up–ThrillerFest–and I get tingles of excitement imagining being there. I honestly can’t think of a more thrilling industry–and we’re not as mean as Hollywood or Nashville.

But one thing does bum me out. I have trouble getting past a bad review. At least I haven’t broken any computer screens over a review. Yet.

TBD: When you win the Mary Higgins Clark award, does she come to your house and hang out with you? Who do you have to pay to win one of those awards?

JM: Well, in all seriousness, Mary does hand the award to you herself. And let me tell you, she is the most elegant doyenne anyone could hope to meet. After eleven years of rejection, that night provided balm for some wounded nerves. I would’ve paid a lot for it, but the truth is I think the awards process is fairly pure. A few years ago, I judged a major award and was a conduit for the most representative taste, not the big hits, nor the expected favorites, or the books that got the biggest push. It’s gratifying to me, especially as we come up to a big election year, that some things really can’t be corrupted.

TBD: I hate to ask, but what advice do you have for writers?

JM: Do ask! Please ask! I love this one. First, come find me, either virtually or on the road, because sharing, not advice (what do I know?), but a compendium of perspectives, tips, and stories gleaned from meeting many, many writers, struggling and successful, as well as publishing people, is one of the things I most love to do.

But if I had to boil all advice down to one single nugget it would be this. Know that anything we write can always use more work. It is never as good or done as we think it is. Critical feedback is like gold. Whether we accept it or not. Hearing different takes on what we create is the only way we will make it appeal to a broad range of readers. And that’s what we’re all hoping for, isn’t it? That’s why we write and read. To find the story that will carry us away.

Jenny Milchman is the author of the summer thriller, As Night Falls, a July Indie Next Pick. She has just hit the road on her third “world’s longest book tour.” Find her–literally–at http://jennymilchman.com/tour/bring-on-the-night-2015.

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Lance Rubin Author Photo

Lance Rubin on Harry Potter, the Stinky Cheese Man and How to Get Your Debut Novel Published

One of the fun things about being a Book Doctor is that we get to travel to cool places and meet cool people. If you haven’t been to San Antonio, do yourself a favor and go. It’s a beautiful city. The San Antonio Book Festival was really a blast: great authors, great craft stuff for Olive, our daughter, and most importantly, lots of readers. While we were there, we met Lance Rubin at the party they have for authors. He explained what his first book is about, and it’s great. We decided to pick his brain about writing, publishing, and how he got his first book deal. To read on the Huffington Post, click here.

 

The Book Doctors: How did you get started as a writer?

Lance Rubin: Since I was eight years old, I always thought I was going to be a professional actor. So the writing I did through most of my life was often in service of that. When I was younger, I wrote skits and short films with friends that we would perform. In college, I wrote and performed a one-man show. After college, I co-wrote and performed a sketch comedy show called The Lance and Ray Show at the Upright Citizens Brigade Theatre. Then, several years ago, I was finding my acting career frustrating and unfulfilling right around the same time I read The Hunger Games. I really loved it, and I thought, “Maybe I’ll try to write a YA novel.” It wasn’t a fully rational decision, but I started writing, and I was having such a good time–feeling empowered and creatively fulfilled in new, exciting ways–that I kept at it. Even though I hadn’t written long-form fiction before, I think all the various writing I’d been doing my whole life completely informed this book.

TBD: What are some of your favorite books and why?
LR: Some favorites include:

The Harry Potter series by J.K. Rowling. Such brilliant storytelling: magical situations always grounded in humanity; a complex story that weaves and intertwines through seven books; humor that comes from a place of love; and fully fleshed-out characters who truly care about each other. I could go on and on. Anyone who’s been resisting reading these is a fool.

The Amazing Adventures of Kavalier and Clay by Michael Chabon. Not only does Chabon spin the most delightful, acrobatic sentences, but he tells a completely engaging story of friendship, love, comic books, WWII, and superheroes.

The Spontaneous Fulfillment of Desire by Deepak Chopra. This nonfiction is all about the power of coincidences and synchronicity. I try to read it every couple years because it makes life more fun; you start to find coincidences everywhere, like a code from the universe you have to solve.

The Stinky Cheese Man and Other Fairly Stupid Tales by Jon Scieszka and Lane Smith. When I first read it as a kid, it made me aware of the way books can subvert narrative expectations and make you laugh out loud.

TBD: How did being a professional actor help and/or hinder you as a writer?
LR: As an actor, I was always trying to get inside the head of a character, figure out how that character thinks and responds to the world. When I started writing this book, with its first-person narrator, I realized there was a surprising amount of overlap, as I was essentially doing the same thing: figuring out how the main character (and all of the other characters, too) thinks and responds to the world. And it was even better because now I got to actually come up with what the characters say! That said, since I come from the world of acting and comedy, I’m often so focused on dialogue that the descriptive parts of my writing are severely lacking. But hey, that’s what rewriting is for!

TBD: The idea for your new book, Denton Little’s Deathdate, is so cool. How did you come up with it?
LR: I think about time a lot. I’m always taking inventory of my life in terms of dates. I’ll think things like, “What was going on in my life a year ago today? Two years ago today? Three?” And so on. And I’m usually able to remember. So one day I thought, “What if I could take inventory of my life in terms of a future date? Specifically, themost important date, the day I’m going to die?” I wondered how this would change the way I lived. Or if maybe it wouldn’t change a thing. And then I thought, “What ifeveryone knew the day they were going to die?” So then there was the idea: in a world where everyone knows their deathdate, the protagonist is going to die tomorrow. That was pretty much all I had for a few years. The rest came later.

TBD: How did you go about getting a book deal?
LR: I just Googled “book deal,” clicked on the first link that appeared, and signed up! Isn’t that how it works for everybody?

Apologies for that dumb joke. I did have a relatively charmed journey to a book deal, as my best friend since I was three, Zack Wagman, has worked in publishing for over a decade and is a brilliant editor, currently at Ecco. He was one of a handful of close people in my life who read the first draft of my book and gave feedback, and then was one of a duo of close people in my life (along with my wife, Katie Schorr) who gave feedback on the three or four subsequent drafts over the next year. Finally, once I had a draft that was in solid shape, Zack connected me to agent Mollie Glick at Foundry Literary + Media, who responded to the book and signed me. (I know getting an agent is not supposed to be such a smooth process, so I understand if writers out there want to spit in my proverbial soup. I’ve faced a ton of rejection in my life, too, if that makes you feel better. See: abandoned acting career.) Mollie is terrific, and she guided me through one last big rewrite before submitting to various publishing houses. In November 2013, Denton was sold to Knopf Books for Young Readers.

TBD: What was it like working with your editor?
LR: Super. I feel so fortunate that I ended up working with Nancy Siscoe. She’s smart and kind and funny, and she loves all the same things about my book that I do. By the time she got my first book, it had already been rewritten a lot, so her changes were minor but really insightful as to things that would make the story clearer and more satisfying. My second book, which comes out in April 2016, was pretty much a mess when she got it. So I was truly relieved when I received her pages and pages of single-spaced notes and they all resonated with me. It was like, “Oh man, she has great ideas about how to make this less of a mess. Thank god.”

TBD: We’re intrigued by the musical you’re writing. What exactly is Annie Golden: Bounty Hunter, Yo!?
LR: Hey, thanks for asking! It’s a musical I co-wrote with Joe Iconis and Jason “SweetTooth” Williams about a veteran musical theater actress named Annie Golden (to be played by veteran musical theater actress Annie Golden, known to many as Norma on Orange is the New Black) who gets pulled into the world of bounty hunting and starts kicking ass in ways she never imagined she could. It’s a comedy highly inspired by exploitation movies of the 1970s and ’80s–both story-wise and musically–but it’s also about breaking out of the boxes society puts people into. It’s been an exciting project to work on. We’re hoping it will have its first production in the not-so-distant future.

TBD: Did you outline your book before you started writing? What kind of a routine do you have as a writer?
LR: Thus far in the two books I’ve written, I haven’t outlined before starting my first drafts. I generally have some broad ideas about where the story might go and a page or two of notes on characters and potential plot points, but then I just start writing and discover as I go. In the case of my second book, I got about 15,000 words in, realized I hated where the story was going, scrapped it, and started again. Outlining might have helped me avoid that, but it’s still the way I prefer to work.

As far as writing routine, I have several coffee shops and libraries that I bounce between. Last year, I worked almost exclusively at the Tea Lounge in Brooklyn. Then it closed out of nowhere in December, which was quietly devastating. I now keep a rotation of several spots because I’m not gonna get hurt like that again.

When I’m working on a first draft, I’m always aiming for word count, which was something I took from Stephen King’s On Writing. With my first book, I tried to get 1,000 words a day. With my second, I aimed for 2,000 (and often only got to around 1,700).

I work way better in the morning, so it’s often an 8:30 am – 3 pm workday, give or take an hour (and sometimes I’m needed on Dad duty for my 1-year-old son, so that timing’s always subject to change).

I usually listen to music while I write, and the headphones going in is my indicator to myself: “Okay, stop dicking around on the internet. Time to work.”

TBD: I noticed your book has been translated into several languages. It was really fun for me when I saw my book in Russian and its different covers. What was it like seeing the book you wrote in a language you can’t read?
LR: That’s absolutely been one of the most surreal parts of the experience. Each cover has had its own wonderfully distinct take on the story, which has been so cool, but it’s the different-language part that is truly hard to wrap my head around. I heard an audiobook sample of the German edition last week, and I think my brain exploded. This story I plunked out on my laptop in random coffee shops has ended up in a recording booth in Germany, being read aloud by some talented German actor. That’s nuts.

TBD: We admire the fact that you publicly admit to loving the New York Knicks. How are you holding up during this very difficult time?
LR: Oh man, it’s been so rough. I mean, maybe there’s some historical joy in knowing I just lived through the Worst Knicks Season of All Time. No, there really isn’t. What a joke of a season. I miss Jeremy Lin.

TBD: I hate to ask you this, but what advice do you have for writers?
LR: Ha, I love the disclaimer at the beginning of that question. Here’s my two cents: whether you’re published or not, you need to start operating as if you’re a published writer. Make writing a part of your daily routine, as if it’s your job. Don’t wait for inspiration to strike; just sit down and do the work every day. If you don’t take yourself seriously in this way, then the universe won’t be able to, either.

Lance Rubin is a New Jersey native who has worked as an actor and written sketch comedy, including successful runs of The Lance and Ray Show at the Upright Citizens Brigade Theatre. He’s also co-writing a new musical called Annie Golden: Bounty Hunter, Yo! and loves Pixar, the Knicks, and Back to the Future. Lance lives in Brooklyn with his wife and son. His debut novel, Denton Little’s Deathdate, is out now from Knopf Books for Young Readers, to be followed by a second Denton book in 2016. Learn more at lancerubin.com and follow him on Twitter @lancerubinparty.

Ylonda Gault Caviness

Ylonda Gault Caviness on Being Black, a Mom, a Black Mom and How to Get a Book Deal

The Book Doctors first met Ylonda Gault Caviness when she won our Pitchapalooza at Words Bookstore in Maplewood, NJ. We were immediately struck by her presence, authority, wit, style, and the way she could string words and ideas together in exciting ways. We’re very excited her book Child, Please: How Mama’s Old School Lessons Helped Me Check Myself Before I Wrecked Myself is out, and we thought we’d pick her brain about the process of getting successfully published. To read on the Huffington Post, click here.

Ylonda Gault Caviness's Child, Please book cover Ylonda Gault Caviness

The Book Doctors: When did you start being a writer and how did it affect the way you see the world?

Ylonda Gault Caviness: I started being a writer at age 8 or so. I was in an all-white school at the time–which wasn’t as traumatic as you might think. I was treated warmly by 98 percent of the kids there. But a not-so-silent minority did call me the N-word occasionally and I could tell that a couple of teachers either felt sorry for me or didn’t quite know what to feel. So I always had this sense of “other-ness.” Writing assignments were my absolute favorite part of the day. In hindsight that’s not saying much because the other parts we were filled with things like either attending mass or reciting the rosary–honorable activities, of course, but at 8 or 9 not so much.

Still, writing made me an observer of life. It’s made me someone who tends to focus on the details and minutia of life. I blame all my most annoying qualities on the fact that I have a writer’s view of the world. I don’t remember a time when I didn’t see myself as a writer. It’s the only thing I ever wanted to be. Well, there was a brief period when I endeavored to be Samantha Stephens. I was young and I thoughtBewitched was a career option, like being a nurse or teacher. To my mama’s credit, she never dissuaded my aspirations. Never let on that despite all my nose twitching–practice, in this case, would not make perfect. Nor was there the most remote likelihood that a little black girl would grow up to be a white woman. I guess Mama didn’t want to be a dream killer. Either that, or she was paying me no mind. In hindsight, it was probably the latter.

TBD: When did you start being a mom and how did it affect the way you see the world?

YGC: Although the first of my three kids was born 16 years ago, I don’t think I really started being a mom right away. I was physically caregiving. But I don’t think I became fully present in mom-dom until much later. Until recently, Mother’s Day seemed to me a holiday for veteran moms. Even when my third was born in May 2007–two days before Mother’s Day–I was singularly focused on my mama, who was visiting us at the time. In my head, I hadn’t yet earned bona fide, official motherhood status yet.

As my oldest kids grew into pre-adolescence I think I gained a much deeper understanding of who they were as people. And it became really clear to me that it was my job to let them grow into who they were meant to be–not some pre-determined notion of who they SHOULD be. When I started to take my hand off the wheel is when I started to see that they were already all that–and a bag of chips. For example, it became clear that the eldest one didn’t need expert tips to make her strong. I thought she was a big ole sassy pants, but she actually has all the best qualities of an independent person who can resist peer pressure. My younger daughter didn’t need to learn empathy; she came here with a sensitive heart. Same for my third, who is one of the most kind and generous people I know.

TBD: When did you start being black and how did it affect the way you see the world?

YGC: I’m really fortunate that I’ve been so black for so very long. And I was born during a time when, as far as I could see, anybody who was anybody was also black. In the early 70s, there was the Black Panther Party–badasses, Mavis Staples, Curtis Mayfield and–forget Beyoncé; I don’t care what Jay Z says–the baddest chick in the game was and still is Pam Grier. I mean, to have anything at all in common with Pam Grier clearly made me a bad mamma jamma by association. So I think growing up black gave me confidence and strength and a fighter’s mentality. I recall so clearly James Brown singing on the radio songs like “I’m Black and I’m Proud” and–my fave–“I Don’t Want Nobody to Give Me Nothin’. Open up the Door I’ll Get It Myself.”

These days a lot of people, especially famous people, will say “don’t label me as black; I’m a person.” And I get that in a way. But I’m really into being black. I feel like it makes me wise; makes me strong; makes me creative; and makes me cool. Of course, one need not be black to have all these great qualities. But if you really own your blackness, you see it as an attribute not a burden. So I’m very happy to be called black.

TBD: What were some of your mother’s mothering techniques?

YGC: Not sure it was a “technique” so much. But Mama rarely paid us any mind. The beauty of that approach was that we knew our place. We never thought we mattered all that much to the world unless we achieved something. Kids now seem to get major props just by virtue of the fact that they exist. Kids in the playground are surrounded by moms cheering their descent down the slide: “Yay, Sofie. You’ve mastered gravity!” My brother, sister and I knew that we had to earn praise. She was not cheering our descent down the slide. She wasn’t giving us extra cookies for doing well in school. Or worrying over us, which forced us to figure life out. It seems harsh by today’s standards, but it was–from what I gathered–pretty much the same in all of my friends’ homes.

TBD: How did you develop your writing skills?

YGC: If I have a skill at all, I think it’s that I know how to work relentlessly to place truth at the center of anything I write. Pretty prose is great. And I love a good turn of phrase as much as the next person. But in the end, if it’s not really, really real, I know I have to dig deep and maybe even start all over from scratch. My life as a writer is very tortuous because of it. Mama–being the cut and dried person she is–used to say to my siblings and me: “If you’ll lie, you’ll steal.” She always made you feel so worthless and despicable–even if you told a little bitty lie about eating the last fig newton or some such that I guess it stuck with me.

But when you think about it, if you can’t tell the low-down and dirty truth about yourself, at least as much as you know of it, why bother? Who are you helping? I’m not saying I’m some kind of superhero, but I honestly believe my writing is supposed to help people. It’s supposed to touch somebody in a dark corner of their heart and heal a wound. Anyone who knows me knows that I’m a sort of weird, confused and broken soul. I know I’m charged with sharing that.

TBD: Your book started out as a general parenting book, not necessarily about race. How did it become a memoir that has so much about race in it?

YGC: I didn’t realize when I started writing the book how much of my motherhood was rooted in my blackness. Like anyone, my mother played a huge role in how I mothered and her experiences, growing up in the Jim Crow South and such, clearly shaped her parenting.

What I learned in the writing of my memoir, though, is that one of the things that makes our country great is the mix of cultures. They don’t exactly melt into a pot, though. And that’s not a bad thing. We bring cultural differences to our cooking. We bring cultural differences to celebrations and holidays. And, guess what? Although we don’t talk about it much, we bring cultural differences to child rearing. My hope is that we can lift up those differences and begin a new conversation, instead of pretending the differences don’t exist.

TBD: What was it like writing for The New York Times?

YGC: It was cool, because I didn’t know I was going to be picked up by the New York Times. I wrote my essay with the idea that I would submit it to a bunch of outlets. Had I known I’d be writing for the New York Times going into the whole process, I might have been intimidated. And the end result might not have been so bold.

Ignorance truly can be bliss. Once the Times accepted the piece and I went through the editing process, I am not sure I understood the power of it all. And, it’s funny. At every turn a part of me kept thinking someone high up on the Times masthead was going to come along and say, “We’ve changed our minds. This piece sucks.”

TBD: How did you get your book deal?

YGC: I won a Pitchapalooza event–which is sort of like American Idol for authors, in Ridgewood, NJ. It was crazy: a room filled with, like 200, would-be authors. And each contestant got a number. Then one by one, you get up in front of the crowd and pitch your book idea to a panel of judges made up of publishing pros.

There is no Simon Cowell and none of the panel members call out “Yo, dog!” But you and your wife Arielle Eckstut definitely have a shtick. And I remember being so nervous! I practiced for hours. And I rolled up in there with my writer’s group crew in tow. For me, I’d already won simply because I fought my doubting thoughts and got up to participate. That’s why, at the end, when the winner was announced I sort of looked around–waiting for this Ylonda Gault person to stand up. Then I suddenly realized it was me! I was the Ylonda Gault person–the winner.

From there Arielle worked with me to whip my proposal into shape. And it’s important to note that the book I pitched was not a memoir. I had absolutely no plans to tell my story. I was just going to write a parenting book and include a few personal anecdotes. It was Arielle who insisted that the personal stuff was the actual book. It took me about a year to come up with and write the Child, Please proposal. Then Arielle introduced me to Jim Levine, of Levine Greenberg Rostan–her mentor.

TBD: How did you go about developing your platform?

YGC: Hell if I know! Seriously, each time I took a job or an assignment I thought I was simply going from one job to another–not at all conscious of any sort of platform. I laugh my butt off when people say, “Wow! Your resume is great!” I think to myself: “Where were you in 2009 when I was laid off?”

I think the best thing anyone can do–and this sounds corny, I know–is do the work you believe in. And stick with it.

TBD: What do you do to make a hook that gets your book everywhere from National Public Radio to Essence magazine to The New York Times?

YGC: In no way did I get her alone, first of all. I have no formula. A lot of this stuff is just how the stars align in a certain moment in time. It’s not something you can forecast really. It’s like that Kanye West & Drake collabo, you know? Blessings on blessings on blessings. There are wonderful people all around me. I’m really fortunate that smart people, like Arielle Eckstut, helped me navigate the book proposal process. I have Jim Levine, the agent of agents, who has believed in me from the start. And Tarcher, the Penguin imprint, has the best editor in the game in Sara Carder. She has the support of publisher, Joel Fontinos. And the publicity team, Brianna Yamashita and Keely Platte, “got” Child, Please from the word “go.” Everyone did, really.

TBD: What advice do you have for writers?

YGC: You’ve gotta go for what you know. It’s the only way to be truly authentic. And if people don’t get it, the hell with them. You have to keep on keeping on.

TBD: For mothers?

YGC: Oh my goodness, I just realized, it’s the same drill! Following your instincts in everything. Mothering is a heart experience more than anything. So I follow my heart. I figure, even if I’m wrong (and I am, often) I have peace of mind. And I truly believe if I have honorable intentions that will be rewarded some how. I don’t believe kids know how good you are at this. It’s not like another mom took the stage before you and killed it–left the crowd screaming for more. But they can totally tell if your heart is not in it.

And in the end, I think we want them to see our truth. So they’ll know how to honor their own.

Ylonda Gault (@TheRealYlonda) is an author, veteran journalist and education advocate. Over the course of her 20-year print and digital magazine career, she has been a senior producer at iVillage; lifestyle and parenting editor at Essencemagazine. CHILD, PLEASE: How Mama’s Old-School Lessons Helped Me Check Myself Before I Wrecked Myself is her first book.

Gault’s feature writing and editing has appeared in a variety of publications including The New York Times, Redbook, Health and The Huffington Post. Best known for her coverage of family, parenting, women’s and lifestyle topics, she has been a frequent guest on NPR, TODAY, Good Day New York ABC News and other broadcasts. She lives in Northern New Jersey with her three amazing children.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2010). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

PITCHAPALOOZA Main Point Books: September 21, 3PM

PITCHAPALOOZA MAIN POINT BOOKS  Bryn Mawr, PA

SUN. SEPT 21, 3PM

SPECIAL GUEST JUDGES: CARLIN ROMANO & ANNE WILLKOMM

Copy of pitchapalooza Naperville

WHAT:   Pitchapalooza is American Idol for books (only kinder and gentler). Twenty writers will be selected at random to pitch their book. Each writer gets one minute—and only one minute!  Many writers have gone from talented amateurs to professionally published authors as a result of participating in Pitchapalooza, including Genn Albin, our KC winner who got a 3-book mid-six figure deal with Farrar Straus & Giroux.

WHO: Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company dedicated to helping authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully(Workman, 2010). Arielle Eckstut has been a literary agent for 18 years at The Levine Greenberg Literary Agency. She is also the author of seven books and the co-founder of the iconic brand, LittleMissMatched. David Henry Sterry is the best-selling author of 12 books, on a wide variety of subject including memoir, sports, YA fiction and reference. They have taught their workshop on how to get published everywhere from Stanford University to Smith College. They have appeared everywhere from The New York Times to NPR’s Morning Edition to USA Today.

HOW: At Pitchapalooza, judges will help you improve your pitch, not tell you how bad it is. Judges critique everything from idea to style to potential in the marketplace and much, much more. Authors come away with concrete advice as well as a greater understanding of the ins and outs of the publishing industry. Whether potential authors pitch themselves, or simply listen to trained professionals critique each presentation, Pitchapalooza is educational and entertaining for one and all. From Miami to Portland, from LA to NYC, and many stops along the way, Pitchapaloozas have consistently drawn standing-room-only crowds, press and blog coverage, and the kind of bookstore buzz reserved for celebrity authors.

PRIZE: At the end of Pitchapalooza, the judges will pick a winner. The winner receives an introduction to an agent or publisher appropriate for his/her book. 

PRICE OF ADMISSION: To sign up to pitch, you must purchase a copy of The Essential Guide To Getting Your Book Published. Anyone who buys a copy of receives a FREE 20 minute consultation, a $100 value. If you don’t want to pitch, the event is FREE.

WHEN: Sun Sept 21, 3pm

WHERE: 1041 West Lancaster Ave Bryn Mawr, PA 19010 (610) 525-1480

New York Times article: http://tinyurl.com/3tkp4gl.

Pitchapalooza on Kansas City Public Radio: http://bit.ly/eBlMUy

Pitchapalooza video trailer: bit.ly/mVj4uA
Pitchapalooza mini movie: http://tinyurl.com/3jr8zte.

Pitchapalooza on NBC: http://www.thebookdoctors.com/the-book-doctors-pitchapalooza-on-nbc-television

Here’s what people are saying about Pitchapalooza: 

“We came to Pitchapalooza with an idea and six months later we got a book deal with a prominent publisher. We simply couldn’t have done this without this opportunity and without David and Arielle. We had been working on this project for several years, on our own, and struggling without any guidance. We were really discouraged by the entire process. Winning Pitchapalooza, and working with these two, really helped us focus and renew our enthusiasm in the project. And now we’re going to be published authors!”—Nura Maznavi and Ayesha Mattu, Pitchapalooza winners Litquke, San Francisco, Oct. 2010

Read more testimonials

Here’s what people are saying about The Essential Guide To Getting Your Book Published: 

“I started with nothing but an idea, and then I bought this book. Soon I had an A-list agent, a near six-figure advance, and multiple TV deals in the works. Buy it and memorize it. This little tome is the quiet secret of rockstar authors.”—New York Times best-selling author Timothy Ferris, The 4-Hour Workweek: Escape 9-5, Live Anywhere, and Join the New Rich,

 

Pitchapalooza

PITCHAPALOOZA South Dakota Festival of Books: September 26, 2PM

South Dakota Festival of Books

Holiday Inn, Skyline

Sioux Falls, SD

2:00-3:30 PM

Click here to visit South Dakota Festival of Books website.

ADMISSION REQUIRED TO PITCH – Purchase The Essential Guide to Getting Your Book Published ($16.99) and receive a 20-minute personal consultation with The Book Doctors. Observers attend free!

 

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WHAT:   Pitchapalooza is American Idol for books (only kinder and gentler). Twenty writers will be selected at random to pitch their book. Each writer gets one minute—and only one minute!  Many writers have gone from talented amateurs to professionally published authors as a result of participating in Pitchapalooza, including Genn Albin, our KC winner who got a 3-book mid-six figure deal with Farrar Straus & Giroux.

WHO: Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company dedicated to helping authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully(Workman, 2010). Arielle Eckstut has been a literary agent for 18 years at The Levine Greenberg Literary Agency. She is also the author of seven books and the co-founder of the iconic brand, LittleMissMatched. David Henry Sterry is the best-selling author of 12 books, on a wide variety of subject including memoir, sports, YA fiction and reference. They have taught their workshop on how to get published everywhere from Stanford University to Smith College. They have appeared everywhere from The New York Times to NPR’s Morning Edition to USA Today.

HOW: At Pitchapalooza, judges will help you improve your pitch, not tell you how bad it is. Judges critique everything from idea to style to potential in the marketplace and much, much more. Authors come away with concrete advice as well as a greater understanding of the ins and outs of the publishing industry. Whether potential authors pitch themselves, or simply listen to trained professionals critique each presentation, Pitchapalooza is educational and entertaining for one and all. From Miami to Portland, from LA to NYC, and many stops along the way, Pitchapaloozas have consistently drawn standing-room-only crowds, press and blog coverage, and the kind of bookstore buzz reserved for celebrity authors.

PRIZE: At the end of Pitchapalooza, the judges will pick a winner. The winner receives an introduction to an agent or publisher appropriate for his/her book.

PRICE OF ADMISSION: To sign up to pitch, you must purchase a copy of The Essential Guide To Getting Your Book Published. Anyone who buys a copy of receives a FREE 20 minute consultation, a $100 value. If you don’t want to pitch, the event is FREE.

WHEN: September 26, 2PM

WHERE: Holiday Inn, Skyline, Sioux Falls

New York Times article: http://tinyurl.com/3tkp4gl.

Pitchapalooza on Kansas City Public Radio: http://bit.ly/eBlMUy

Pitchapalooza video trailer: bit.ly/mVj4uA
Pitchapalooza mini movie: http://tinyurl.com/3jr8zte.

Pitchapalooza on NBC: http://www.thebookdoctors.com/the-book-doctors-pitchapalooza-on-nbc-television

Here’s what people are saying about Pitchapalooza: 

“We came to Pitchapalooza with an idea and six months later we got a book deal with a prominent publisher. We simply couldn’t have done this without this opportunity and without David and Arielle. We had been working on this project for several years, on our own, and struggling without any guidance. We were really discouraged by the entire process. Winning Pitchapalooza, and working with these two, really helped us focus and renew our enthusiasm in the project. And now we’re going to be published authors!”—Nura Maznavi and Ayesha Mattu, Pitchapalooza winners Litquke, San Francisco, Oct. 2010

Here’s what people are saying about The Essential Guide To Getting Your Book Published:

“I started with nothing but an idea, and then I bought this book. Soon I had an A-list agent, a near six-figure advance, and multiple TV deals in the works. Buy it and memorize it. This little tome is the quiet secret of rockstar authors.”—New York Times best-selling author Timothy Ferris, The 4-Hour Workweek: Escape 9-5, Live Anywhere, and Join the New Rich,

Read more Pitchapalooza testimonials.

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Book Doctors Erma Bombeck Writers Conference Pitchapalooza Photos

One of our best Pitchaplooza at Erma Bombeck Writers Conference.

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Book Doctors Early Interview on How to Get Published Successfully

The Book Doctors & Pitchapalooza in Washington Post

Washington Post with a lovely piece about David Henry Sterry, Arielle Eckstut, P0litics & Prose, The Book Doctors & Pitchapalooza

Pitchapalooza Rock the Bay Area

The Book Doctors, aka, Arielle Eckstut and David Henry Sterry, authors of The Essential Guide to Getting Your Book Published, will be making house calls all over the Bay Area, from Marin to Berkeley to SF to Stanford to Santa Cruz. They want YOU to pitch your book at their acclaimed event, Pitchapalooza, which was recently featured in The New York Times, and in a mini-documentary for Newsday, and on NBC. Pitchapalooza is like American Idol for books–only without the Simon. Writers get one minute to pitch their book ideas to an all-star panel of publishing experts. The winner receives an introduction to an appropriate agent or publisher for his/her book. Plus, anyone who buys a book gets a free consultation worth $100.

July 23, Mystery Writers Conference, Book Passage, Corte Madera, California
July 24, 1 PM, Green Apple Books, (Rock-It Room) San Francisco, California
July 25, 7pm, Books Inc, Berkeley, California
July 28, 7 PM, Bookshop Santa Cruz, Santa Cruz, California
July 30, 10 AM, Stanford University, Palo Alto, California (workshop)

Arielle Eckstut has been a literary agent for 18 years. She is also the author of seven books and the co-founder of the iconic brand, LittleMissMatched. David Henry Sterry is the best-selling author of 12 books, on a wide variety of subject including memoir, sports, YA fiction and reference. His last book appeared on the cover of the Sunday New York Times Book Review. Together, they’ve helped dozens and dozens of talented amateur writers become published authors. They’ve appeared everywhere from NPR’s Morning Edition to USA Today, and have taught publishing workshops everywhere from the Miami Book Fair to Stanford University. Find more at www.thebookdoctors.com.

Here’s what people are saying about The Essential Guide To Getting Your Book Published:

“I started with nothing but an idea, and then I bought this book. Soon I had an A-list agent, a near six-figure advance, and multiple TV deals in the works. Buy it and memorize it. This little tome is the quiet secret of rockstar authors.”—New York Times best-selling author Timothy Ferris, The 4-Hour Workweek: Escape 9-5, Live Anywhere, and Join the New Rich,

“It is a must-have for every aspiring writer… thorough, forthright quite entertaining.”—Khaled Hosseini, New York Times bestselling author of the Kite Runner

“Before you write your own book, read this one first.”—Jonathan Karp, editor-in-chief, Simon and Schuster

The Book Doctors Pitchapalooza on NBC Television!

We were lucky enough to be interviewed by a truly funny and gracious human being who works for NBC. Contradiction in terms? Apparently not. His name is Ben Aaron, and he was very very good to us.

Facebook Video

“A must-have for every aspiring writer.” – Khaled Hosseini, New York Times bestselling author of The Kite Runner

The Essential Guide to Getting Your Book Published
http://www.thebookdoctors.com/

www.davidhenrysterry.com
@sterryhead 4 twttification
http://www.facebook.com/TheBookDoctors 4 facebookization

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