David Henry Sterry

Author, book doctor, raker of muck

David Henry Sterry

Tag: how to get published Page 1 of 4

The Book Doctors: Tips 4 Pitching to Get Published

The Book Doctors at Book Con breaking down presentation tipsas they explain how to pitch your book to get published.

Susan Bolotin Editor-in-Chief of Workman, with The Book Doctors talking About How to Get Successfully Published

Great insider information about how to get successfuly published and be a professional writer from Susan Bolotin, Grand Poobah of one of the greatest publishers in the world, Workman Publishing.

Patricia Spears Jones & the Book Doctors on Poetry, Publishing, & Finding Your People

The incredible poet Patricia Spears, Jones talks about being a poet, writing poetry, being a publisher, finding your community of writers, getting your poetry out into the world, and building your career as a poet

The Book Doctors & National Novel Writing Month’s Grant Faulkner on Writing & Publishing Success

Grant Faulkner, Dir. of National Novel Writing Month, or NaNoWriMo for short, talks to The Doctors about overcoming discouragement from others, crashing your own gate, writing a terrible first draft, editing it so it gets better and better, and becoming part of a community of writers who support and nourish each other.

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

Brad Parks Interview with the Book Doctors

The Book Doctors interview amazing author Brad Parks. He has so many useful & fascinating things to say about how to become successfully published writer.

Olive, 11, Is Our Child Mentor: Here’s the Video

Do you have social mediaphobia? Scared opf Twitter? Terrified of Facebook? Shiver at the thought of Instagram? Get yourself a tween mentor. They know how to do everything on social media because their brains are hardwired that way. And, the work for Kit Kat bars.here’s a video we made to show you how.

The Book Doctors Announce 2019 Schedule

The Book Doctors will be travelling from LA to NY, the World Wide Web to Kauai, helping talented amateur writers become professional authors. Come join us, and say hello when you do!

Online Nanowrimo Pitchapalooza Mar 16 3pm
Montclair Literary Festival March 23, 24, Montclair, NJ
William Paterson Annual Spring Writer’s Conference April 6 Paterson, NJ LA Times Festival of Books April 13-14 USC, Los Angeles
Rutgers Writers Conference Jun 1, Rutgers, NJ

Book Con June 2, Javitz Center, NY NY 
Kauai Writers Conference Nov. 8-10 Kauai, HI

 

 

    

 



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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The Book Doctors: Getting an Author Platform Without Going on Twitter Facebook Instagram etc

If you plan to query agents, pitch editors, or self publish, get your writing into the world before you have a book because it proves there’s an audience interested in your subject.  Where to start? We’ll tell you how to pitch big publications and niche. Here’s what we cover: 

  • Publications that will build your platform
  • Examples of bylines that landed book deals
  • How to pitch publications and follow up
  • Self-destructive impulses to avoid 

 

WRITERS BEWARE! THE BOOK DOCTORS SHOW YOU HOW NOT TO BE SCAMMED!!!

Disreputable author service companies often masquerade as legitimate publishers. Here’s how to publish a book without getting scammed. Ask us questions in the comments.

 

The Book Doctors: How to Get Published – Should I Got to a Writers Conference?

The Book Doctors Have New YouTube Channel

 

"Cruel Beautiful World" by Caroline Leavitt book cover

Caroline Leavitt on Writing, Dangerous Love, Charles Manson, and Getting on NPR

When we first moved to New Jersey, we were lucky to meet a few local writers. One of them was Caroline Leavitt. We kept running into her at writers conferences and book festivals, and we became huge fans of her and her books. She is the quintessential writer’s writer. When we found out about her new book, Cruel Beautiful World, we picked her brain on the state of writing, publishing, and how the heck she got Scott Simon to interview her on National Public Radio.

Read the interview on the Huffington Post.

Caroline Leavitt with The Book Doctors

 

The Book Doctors: We have often thought that it is a cruel beautiful world, so your title really captured our eye. How did you come up with that cruel and beautiful title?

Caroline Leavitt: My 20-year-old actor son Max came up with it, and it seemed to fit, because I was writing about that time when the innocence of the ‘60s slammed into the dangerous reality of the ‘70s. I’m awful at titles. They always get changed by Algonquin. But this one seemed to stick. Plus, I’m like you. I think the word is so, so beautiful, with so much joy, but to appreciate that joy, you have to experience the absolute cruelty of it, as well.

TBD: We heard you recently on NPR with Scott Simon. How did that interview come about, and what was it like to talk about your book with Mr. Simon?

CL: My genius publicist got me on! It was a blast. Scott Simon is really calming and funny—and I was really happy that I was able to make him laugh. Plus, he asked such thoughtful questions. I was just so honored.

TBD: What is your daily routine for writing a novel at this point? How many drafts did it take to get Cruel Beautiful World ready for publication? Do you rely on readers and editors to help along the way?

CL: I try to write four hours every day. I have to know the beginning and the end, and I usually do a 30-page writer’s synopsis that changes every time I sit down to write. It took about 28 drafts for Cruel Beautiful World, maybe more, because I lost count, and it morphed into a very different book than what I initially thought it would be. I totally relied on my Algonquin editor, Andra Miller, who seemed to know what I needed to do before I did it. And I totally rely on other writers to read drafts and discuss things with me. I couldn’t do it alone.

TBD: What was your inspiration, the diving board that led you to plunge into the pool of this book?

CL: I wanted to write this story when I was 17. I sat behind a girl in study hall who had a much older fiancé who was controlling, which I thought was weird. Then a year later, she broke up with him and he stabbed her. I was horrified! But I couldn’t write about it because I kept wondering, how did she stay with someone for five years and not know he was capable of this? Ah, then ten years passed, and two weeks before my wedding, my fiancé dropped dead in my arms. I was so cataclysmic with grief that I knew I would die if I had to keep doing it. So against all advice, I hurled myself into a relationship with a man who wouldn’t let me eat (I was 100 pounds but he thought I was too heavy), monitored what I wore, didn’t want me to see my friends or his friends. Why did I stay? Because if I left, then I’d have to grieve. The final countdown was when I discovered he had deleted a page or so of my novel in progress and replaced it with a Groucho Marx series of jokes. When I protested, he said, “What’s yours is mine. We are the same person.”

So I understood staying in a controlling relationship, losing yourself, but I didn’t have the novel until four years ago, when I noticed an online request from my high school friend’s sister. She was still haunted by the crime and wanted anyone who knew anything to talk to her. Then I had my story!

"Cruel Beautiful World" by Caroline Leavitt book cover

TBD: The novel seems to be in some ways about dangerous love, and about a strangely taboo subject in our culture: love in old age. What made you decide to tackle these topics?

CL: See above for the dangerous love! Love in old age is my homage to my mom. She was jilted at 17, married my father, a brute, and when he died in his 50s, she swore off men. Hated them! She lived alone until she was 90, when she couldn’t handle the house and we moved her into an independent living place. She hated it, screamed at me to take her home. And then suddenly she didn’t. She met this man Walter and impulsively kissed him, and they fell in love—she told me “for the first time.” They were inseparable for four years, and then my mom began to get dementia. And after she did, Walter fell and died, and my sister and I never told our mother. So my mom, who is now 99, thinks he is still alive, that she has just seen him, that he is living with his kids and will call her soon. It’s kind of lovely how happy she is.

TBD: We were watching Aquarius, David Duchovny’s new show, and one of the characters in it is Charles Manson. Why do you think we still have this intense fascination with a man who has a Nazi swastika carved into his forehead?

CL: Because what you initially saw was not what you ended up getting. Manson looked just like any ‘60s hippie. He had all the extras. He lived on a communal ranch. He preached love and everyone was welcome. Even Dennis Wilson liked him and had Susan Atkins babysit his kids! The Manson Girls adored him. When you think of who he really was, it gets scarier because I keep thinking—I could have been a Manson girl in the ‘70s. So could a lot of girls. Manson still being alive and around fascinates us because he really is pure evil—this tiny little old man now—still scares us.

TBD: David was coming of age in that strange period between the 60s and the 70s, when America went from being obsessed with flower power and the Grateful Dead to disco and cocaine. What draws you to this strange crossroads in American history?

CL: Oh, I was coming of age then, too. I wanted to go out to San Francisco and wear flowers in my hair and “meet some gentle people” but I was too young. So I hung out at the Love-Ins in Boston with my older sister. There was such profound hope in the ‘60s, a sense that we really could change the world for the better. And then the ‘70s hit. And Nixon invaded Cambodia. And Kent State happened. And the Mansons. What happens when dreams turn into a reality you didn’t expect? Can you still find meaning in your life? That’s what really interested me.

TBD: We work with so many writers who have a bizarre conception of what it is to be a writer: you’re suddenly filled with inspiration, you dash off your opus, and then you sit in your cabin by the lake while the royalty checks roll in. Of course, anyone who’s written a book knows it’s mostly sitting by yourself in a room, slogging away and trying to chisel out a work of art and commerce from a lump of clay you have to create with your imagination. As authors who’ve been writing for decades, we have to ask, why the heckfire do you do it?

CL: I firmly believe if I didn’t do it, I would be insane. And also because I love the whole sensation of being in another world, of creating characters. Maybe I am a bit of a masochist, but I love the hard, hard work.

TBD: We must confess that we’ve known Caroline Leavitt for quite some time, we are fellow New Jersey writers, and we know that she, like so many of our distinguished writer friends, spends portions of her life being terribly nervous. Why do you think that is?

CL: Ha, that made me laugh! I think writers are perhaps more broken than the average person, that writing heals us. And, of course, that means, when we aren’t writing, we are searching for that stray Valium we just know was around here.

TBD: When we were looking for a publisher for The Essential Guide to Getting Your Book Published, we turned down a much larger offer from one of the Big 5 publishing houses to go with Workman, an independent publisher. We believe our book would now be out-of-print, instead of in its third edition, if we had taken more money and gone with a publisher who really didn’t know how to reach our audience, one owned by a corporation whose guiding principal is profit as opposed to developing and nurturing writers. What are your thoughts about finding the right publisher for your book?

CL: The right publisher is everything. I have had five (count ‘em) before I got to Algonquin. Two small ones went out of business. Three big ones ignored me. My sales were enough to buy groceries. When I got to Algonquin, everything changed. I kept saying, “You know I don’t sell, right?” And they kept saying back, “You will now.” Six weeks before Pictures of You came out, it was in its sixth printing. The month it was out, it was on the New York Times Best Seller List. All of a sudden I had a career, and the people who wouldn’t take my calls before were now calling me! I’ve never been treated so well. Algonquin respects their authors, they keep selling a book long after it’s been out—and they totally work out of the box, which gets amazing results. I call them the gods and goddesses for good reason.

TBD: What are you currently writing? What are you currently reading?

CL: I’m writing the first chapter of my new book, and I’m too superstitious to say anything about it. I’m reading Shelter in Place by Alexander Maksik, which is fabulous, and I have this book Idaho by Emily Ruskovich.

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

CL: Never ever ever ever give up. Never. Someone says, “no”? The next person might say, “yes.” And do not write to the marketplace. Write the book that speaks to you, that is going to change YOUR life. If your book can do that, well then, it will change the lives of others, too.

Caroline Leavitt is the author of the Indie Next Pick Cruel Beautiful World, and the New York Times Bestsellers Pictures of You and Is This Tomorrow. She reviews books for the San Francisco Chronicle, The Boston Globe and People, and she teaches novel writing online at UCLA Writers Program Extension and Stanford, as well as working with private clients. She can be reached at www.carolineleavitt.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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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.

2016-08-08-1470687042-5554499-jeniseaminoffdiannasanchezwitchskitchenbook.jpg 2016-08-08-1470687266-415448-jeniseaminoffdiannasanchezauthorphotoFelixRust.jpg

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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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.

JOIN OUR NEWSLETTER TO RECEIVE MORE INTERVIEWS AND TIPS ON HOW TO GET PUBLISHED. 

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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Patricia Perry Donovan, author, Deliver Her

Patricia Perry Donovan on Literary Journals, Being a Page, and How Her Novel Deliver Her Got Published

We first met Patricia Perry Donovan when she won our Pitchapalooza (think American Idol for books) down the shore in New Jersey, sponsored by one of our favorite bookstores, BookTowne (know and love thy local indie bookstore!). She dazzled us with her story, her presence, and her writing. Now that her book Deliver Her is out, we thought we’d pick her brain about how the heck she did it.

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

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

Patricia Perry Donovan: I’ve always loved writing. My mother claims I was eight when I announced I would write a book. I began college with a major in languages, but when my French professor criticized my accent, I switched to journalism. It was the era of All the President’s Men, and we all wanted to be the next Bob Woodward or Carl Bernstein. I always made a living as a writer, but only began writing fiction in earnest five years ago.

P.S. I had the last laugh on that college professor: In my thirties, I moved to France for several years and became fluent in the language.

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

PD: My first job as a teen was as a page (yes, my actual title) in the children’s library, where I read voraciously. I have fond memories of the works of Judy Blume, Maud Hart Lovelace, Roald Dahl, and Isaac Asimov, to name a few. I would read a few pages of each book before reshelving it. In recent years, I’ve re-read and dissected Olive Kitteridge by Elizabeth Strout. I would love to write a novel of connected stories like that one day. Of late I’ve shed tears over Kristin Hannah’s Nightingale and All the Light We Cannot See by Anthony Doerr, and swooned over Mary-Louise Parker’s extraordinary prose in Dear Mr. You.

TBD: Why did you decide to write this particular book?

PD: Having heard about families desperate enough to resort to this type of solution for their child, I was fascinated by both circumstances that might lead to this arrangement and the sort of people (both transporter and client) involved. Also, I have family in New Hampshire, and the White Mountains seemed the perfect setting for Carl and Alex’s journey.

TBD: How has being a journalist influenced your fiction writing?

PD: Working as a reporter trained me to write efficiently. It also made me a thorough researcher. For the last fifteen years, I’ve covered the healthcare industry, which is probably why Meg Carmody is a nurse in Deliver Her and is so knowledgeable about insurance. Healthcare is a fascinating field; there are a few topics I’d like to explore in future books.

TBD: How did you get your fiction published in literary journals?

PD: With a thick skin, and perseverance. Using a subscription database of writers’ markets, I targeted smaller publications and sites with higher acceptance rates. It took a while, and a fair amount of rejection, but eventually I had some success. It’s refreshing to take a break from writing a book and play around with an essay or flash fiction. Often a “darling” excised from a work in progress is the perfect starting point for a short story.

The important thing is not to give up. Just because a piece is not right for one publication doesn’t mean another won’t love it. Keep trying!

TBD: Tell us about your road to publication.

PD: In 2012, I entered The Book Doctors’ Pitchapalooza event at BookTowne, my local bookstore. My pitch was chosen as the winning entry; the only problem was, I had written only about 25 pages of the book! The award motivated me, however; less than a year later, I delivered my manuscript to the agent assigned to read it. Although extremely generous with her feedback, she ultimately passed. I then set out to find an agent on my own, and after querying about a dozen agents, I received an offer of representation from Elisabeth Weed of The Book Group, a very hands-on agent who was determined to find a home for Deliver Her. In fall 2015, I signed a two-book deal with Lake Union Publishing.

TBD: How in Heaven’s name did you manage to get 285 reviews before your book was even officially released?

PD: Deliver Her was pre-released in digital format on April 1 as an Amazon Kindle First, a program in which Amazon editors select books from next month’s new releases that readers can preview early. That’s why Deliver Her has close to 300 reviews in advance of its official May 1 release.

TBD: What exactly is Lake Union Publishing?

PD: Lake Union is one of about a dozen imprints under Amazon’s full-service publishing arm (an arm completely separate from Kindle Direct Publishing). Lake Union specializes in contemporary and historical fiction, memoir, and popular non-fiction. My Lake Union team has championed and supported Deliver Her–and me–from day one. It’s been an extremely positive experience.

TBD: What do you love most about writing fiction?

PD: The surprising directions in which your story and characters will take you if you are open to them. Initially I imagined Deliver Her as a love story between the transporter and a woman who comes to his aid. The client was just a means to get Carl to Iris. But once I began writing, the mother-daughter relationship started to drive the story. I had to let go and enjoy the ride.

TBD: What are you working on for your next project?

PD: My next novel, At Wave’s End, is the story of a Manhattan chef whose estranged mother comes East after winning a Jersey Shore bed-and-breakfast in a lottery. All is not as it seems, however; in the aftermath of a hurricane, secrets about the B and B surface, threatening the inn’s future and fraying the already fragile mother-daughter bonds. The anticipated publication date is August 2017.

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

PD: Having come late to the fiction game, I wish I had started doing this 25 years ago. So if you are a writer and feel that tug, that story begging to be told, don’t ignore it. Sit down and tell it.

That said, it’s never too late. Beginning this second act in my fifties, I have a well of experience and life lessons to draw from. I hope my characters are richer for it. Now I joke that while I’ll probably never suffer from writers’ block, I may run out of time to write all the stories I want to tell. That’s not such a terrible problem for a writer to have.

Patricia Perry Donovan is a journalist who writes about healthcare. Her fiction has appeared at The Bookends Review, Gravel Literary, Bethlehem Writers Roundtable and in other literary journals. The mother of two grown daughters, she lives at the Jersey shore with her husband. Learn more at www.patriciaperrydonovan.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.

JOIN OUR NEWSLETTER TO RECEIVE MORE INTERVIEWS AND TIPS ON HOW TO GET PUBLISHED. 

Miami Books & Books Pitchapalooza The Book Doctors Sat May 7 2PM

Miami Writers: Come pitch your book to the Book Doctors at Books & Books Arsht Pitchapalooza!

Saturday May 7 2pm  1300 Biscayne Blvd Miami, FL

anderson's pitchapalooza croppedAandDwithBooks

Jerry Nelson, author, Dear County Agent Guy, Pitchapalooza Participant

Booked! A Guest Column From Pitchapalooza Participant Jerry Nelson

Jerry Nelson, author, Dear County Agent Guy, Pitchapalooza Participant

Jerry Nelson, author of Dear County Agent Guy

As soon as we met Jerry Nelson at the South Dakota Festival of Books, 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. His first book, Dear County Agent Guy, will be published on May 3rd. Publishing is a long row to hoe, so Jerry shared his story of how he did it. This column first appeared on Agriculture.com.


It’s been nearly two decades since I began to do this silly writing thing. During that time, folks have often asked if I had considered publishing a collection of my selected works. This concept had a certain appeal – Fame? Fortune? Exciting new income tax deductions? – so I investigated the matter.

I soon learned that landing a book deal with a mainstream publisher – a publisher who isn’t just some guy with a Xerox machine in the trunk of his car – is only slightly less difficult than climbing Mount Everest on roller skates.

So my wife and I began to look into self-publishing. Some very famous writers have gotten their start via self-publishing. The original author of the Ten Commandments is a good example.

While it’s unlikely that you’ll receive a rejection letter from your self-publisher, self-publishing also has innumerable pitfalls. The main one is the actual publishing process.

I envisioned my wife ensconced in the basement, furiously cranking out copies of my work on a mimeograph machine. Meanwhile, upstairs, I would be slaving over a hot keyboard. It was a daunting proposition, but might be doable so long as my wife’s cranking arm held up.

But then fate intervened.

One September day we decided to attend the Festival of Books, a shindig that’s put on each autumn by the South Dakota Humanities Council. Call us wild and crazy, but our idea of a good time is browsing through stacks of books.

The Festival featured something called Pitchapalooza, an event that was conducted by the husband and wife team of Arielle Eckstut and David Henry Sterry. Pitchapalooza participants must first buy a copy of Arielle and David’s book, The Essential Guide To Getting Your Book Published. Aspiring authors are then given 60 seconds to explain to the room why their book should be published. Beginning… now!

Even though I estimated my odds at somewhere between “none” and “lower than the bottom of a badger hole” I thought it was worth a shot.

I stood up in front of the assembled and dissembled about my columns and the idea of publishing a collection. Arielle and David offered upbeat and constructive advice, but added that nobody publishes collections anymore. Even so, they were kind enough to give me the contact info of a literary agent named Danielle Svetcov.

Danielle cautioned that nobody publishes collections anymore, but nonetheless thought that I should whip up a book proposal. Relying heavily on advice from Danielle and from Arielle and David’s book, I hammered a proposal together. When I printed it out, it was as thick as an oak tree.

Danielle suggested that I email my proposal to a handful of book editors. I didn’t expect to hear anything back from any of them. This is often how it goes in farming: no matter how hard you work, at the end of the day your wife will still probably tell you to get your muddy boots off her clean kitchen floor.

I was as shocked as the guy who backed into an electric fence when a couple of the editors expressed interest. Danielle grabbed the bull the scruff of its neck and made a deal with Workman Publishing. I later phoned Bruce Tracy, my editor at Workman Publishing. “Nobody does collections anymore,” he said. “But we’re making an exception for you. You have wonderful stuff and together we make it even wonderfuler.”

I felt like a man who had been stumbling around in a barren wasteland when one day, without warning, he spies a unicorn. Things like this never happen. At least not to me.

But there it was in black and white: A contract. A book tour. An advance!

It began to seem really real the day I partook in a conference call that involved my agent in San Francisco and my publicist in Manhattan. I thought, “Whoa! Here I am in the middle of nowhere, talking to both coasts. And all because of this silly writing thing!”

Did I mention that I now have a publicist? Everyone should have a publicist to handle all the tough questions that life throws at you.

One day, my wife demanded, “Why can’t you simply put your dirty socks in the hamper?”

“I’m sorry,” I replied. “But you’ll need to contact my publicist, Chloe, regarding that issue.”

I quickly discovered that having a publicist won’t get you out of household chores. It was worth a shot.

So here I am at the same old desk I have used for nearly 20 years. In my sweaty paw is a copy of a sparkling new book titled Dear County Agent Guy, which, I have been told, will soon be available in bookstores everywhere.

All because of this silly writing thing.


Dear County Agent Guy: Calf Pulling, Husband Training, and Other Curious Dispatches from a Midwestern Dairy Farmer, Jerry Nelson, book coverJerry 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 LifeDear County Agent Guy is his first book.

Dear County Agent Guy will be available from Workman on May 3, 2016. Look for our interview with Jerry in the Huffington Post next week.

JOIN OUR NEWSLETTER TO RECEIVE MORE INTERVIEWS AND TIPS ON HOW TO GET PUBLISHED. 

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.

Julie Schumacher julie schumacher dear committee members

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.

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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!

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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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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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Debra Diamond author

Debra Diamond on Going from Wall Street to Published Author

We first met Debra Diamond when at Pitchapalooza in Politics and Prose, one of the great book stores in America. She has completed an amazing journey from Wall Street money manager to artist, psychic and published author. We thought we’d check in with her and see what she has to report.

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

Debra Diamond book cover "Life After Near Death" Debra Diamond Author

The Book Doctors: Why did you decide to do something as ridiculous as write a book?

Debra Diamond: You have this idea and think, “I’m going to write a book,” and don’t realize until you’re down the road what you’ve gotten yourself into. It’s overwhelming and exhilarating, and challenging and while I wrestled the book to the ground, I often thought, “What the hell am I doing?”

I always wanted to write a book and have been writing my whole life, although some of it was in my former work on Wall Street. Growing up, I was a big reader. I knew I wanted to write a book and first tried my hand at fiction. That was like getting my MFA or being thrown into the deep end and trying to keep my head above water. Writing a book is hard. It’s even harder if you don’t know what you’re doing, which I didn’t. The first manuscript had some good moments but let’s just say this: I’m leaving it in the desk drawer. Life After Near Death is actually my third manuscript. I had the idea of doing research on near-death experience aftereffects, which are not well understood or researched. After I finished the research, the next step was putting the information into a book.

TBD: How did you learn to be a writer?

DD: I started out in a writing group in Taos, New Mexico. The teacher was excellent. Everyone in the group had to learn how to do critique, to understand what worked and what didn’t in our writing, and why. That helped me to understand what writing was about a bit better. From there, I was juried into a writing group at the 92nd Street Y in New York, wrote in a workshop at the Writers Center in Washington, DC, and attended writers conferences, listened to speakers talk about their craft. I read every book I could get my hands on and paid attention to how writers do their jobs. But the best way to learn to be a writer is to write. Practice. Practice. Practice.

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

DD: I love Mary Karr. The Liars’ Club was dazzling, and what it did for memoir was noteworthy, creating a new template in an existing genre. Michael Lewis because he can take a dry topic (Wall Street) and bring it to life. I especially like Home Game: An Accidental Guide to Fatherhood because he makes some comments in that book that most of us would never say, much less reveal in a book for the public.

I love thrillers and am in awe of those authors who can juggle conflict, character arc, multiple plot lines, spicy dialogue and compelling settings as if they’re writing a late-for-school notice. I started reading Dennis Lehane back in the early ’90s with A Drink Before the War and Darkness, Take My Hand. I like Joseph Finder and local Baltimore author Laura Lippman because both of them know how to tell a good story.

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

DD: I decided to give traditional publishing a try. It can often take years to find an agent and publisher and then another 18-24 months after that until the book comes out. I wanted this book to be published sooner so I made up my mind that I’d try to find a publisher for a few months, and if that didn’t work, I’d self-publish.

I wrote a query letter that went out to over 200 publishers that I thought would be interested in the topic. The list included college and academic presses, small and intermediate publishers, theological book publishers, publishers in the spirituality and new age categories and the big five New York publishing houses.

The query letter was short but concise, three paragraphs long. The first paragraph described the book (research on a universe of more than 50 people and specific near-death aftereffects including mathematical gifts, enhanced hearing, improved eyesight, electrical sensitivity). The second paragraph explained my marketing approach, and the third paragraph was my bio (former Wall Street money manager and artist who left a high profile life to pursue a life of purpose and spirituality, former regular commentator on CNBC).

Fifteen minutes after the query letters went out, my email inbox was flooded. I had over 35 requests for the book proposal and am still receiving them. The responses ran the gamut from one publisher who said, “With your background, I know you’re going to go with a New York publisher and don’t want to get my hopes up,” to one of the Big Five where four different editors approached me for a proposal to one publisher who emailed me a contract without any preliminaries. I had multiple offers. I didn’t have an agent, so I had to go out and find one. I chose a publisher who fast-tracked the book. It will be released in January 2016, one year after the query letters went out.

Debra Diamond's inbox
TBD: How does you work as a psychic affect your work as an artist and a writer?

DD: I’d like to say that I just close my eyes and everything instantly comes to me. The truth is, I’m just like everyone else. Writing, art or any of the creative endeavors, require hard work and discipline. I have to sit down and do the work just like everyone else. There are no short cuts. I may be open at times because I’m a psychic, but that doesn’t get the book written or do the research or make the work of revising any easier. In truth, lots of creative people are open, and if they’re lucky, find that thread of an idea that wants to emerge. If they’re very lucky, they can access it and nurture it. Being psychic may help the creative process incrementally, but I’m just like everyone else who is searching for the right words, the right phrase, the right image. I still have to do the work.

TBD: How would you react to skeptics who say that clairvoyance is not possible?

DD: I’d say, “Okay.”

The truth is, I’m not trying to convince anyone of anything. I think many people have had experiences for which there is no logical explanation. Sometimes we can look outside ourselves for answers. But for some people, no matter what I tell them, they’ll never be convinced. And that’s okay. It’s not my job to try to convert anyone.

TBD: What advice do you have for artists starting their own businesses?

DD: Being in the arts, as an artist, writer, musician, is tough.

I might suggest that they have a steady full-time job until they can build up enough of a business that they can afford to become a full-time artist (writer, musician) because it takes time and you have to eat in the meantime.

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

DD: Keep writing. It’s how you get better. Don’t give up. I met a woman at a writers conference who had a book coming out. I asked her how many books she’d written before she got this one published and she said, “Eighteen.” I’m not sure if that’s extreme, but I know that you have to keep going. I look at writing the same way I look at all businesses (and I came out of the business world where I watched businesses develop and grow). It takes time, grit, focus, hard work; plus you have to have something that other people want. If you write a book that no one is interested in reading, it might not help you get to the end destination. A lot of things have to break the right way to skew the odds in your favor. You have control over some, and not others.

Debra Diamond is a former Wall Street money manager and artist who left a high-profile life to pursue one of purpose and spirituality. In 2008, she had a transformational experience that left her with unconventional powers as a clairvoyant and medium. As an investment professional, Debra was a professor at Johns Hopkins University and a regular commentator on CNBC. She was profiled in the Wall Street Journal, Forbes, the Washington Post, the San Francisco Chronicle, and the Baltimore Sun. She has an MBA from George Washington University and is a graduate of Christie’s Education and the Jung Institute. The mother of three sons, Debra splits her time between Taos, New Mexico, and the East Coast.

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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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.

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

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.

Winning Pitchapalooza by Gloria Chao

This is originally from a great website called Novel Pitch

Gloria Chao was the winner of the 2015 Pitchapalooza contest put on by The Book Doctors. She and I connected via twitter. The following is her experience from the event. 0wjqQGQB

I am honored that NovelPitch has invited me to share my experience pitching in The Book Doctor’s 2015 Pitchapalooza contest. I’m a strong supporter of writers helping writers, and am excited to give back (though I wish I could give more!) to the community that has helped in my journey thus far. Thank you, Ralph, for your Novel Pitch efforts, and thank you, fellow writers, for your constant support.

I heard about the Pitchapalooza contest through Twitter and submitted my query. Based on The Book Doctors’ comments, I believe my pitch stood out because of the specifics—namely, the wording and humor. Since my novel is multicultural, I used words that gave a taste of Chinese culture, e.g. “sticking herself with needles” and “fermented tofu.” I also highlighted the wacky characters with phrases such as “expiring ovaries,” “unladylike eating habits,” and “Taiwanese Ivy Leaguer.” I think capturing the manuscript’s voice in the query was why my pitch was chosen.

Winning Pitchapalooza gave me confidence and the courage to keep fighting. It also helped bring my manuscript to the next level. I had struggled with my genre, pitching NA contemporary for the contest. The Book Doctors helped me realize this was the incorrect categorization, pointing me toward adult with suggestions to age up my manuscript by changing from first person to third. This released a flood of ideas, and I spent the next several months rewriting—adding 24K words, changing the POV, and writing with a women’s fiction audience in mind. I ended up with a manuscript that finally felt right.

The journey to publication is infamous for being long and relentless, but enjoying the small accomplishments along the way (and the writing, of course!) is what keeps me motivated. Putting ideas into words, sharing work with others, getting a personalized rejection, receiving a request, winning a contest—these are all achievements that require courage and are worth celebrating. And the writing community, including myself, will always be happy to celebrate with you!

Here are some of my tips for making your query stand out:

  • If you’re new to querying, check out Query Shark, published authors’ blogs, Writer’s Digest, and craft books.
  • Keep the 250 word count in mind, but only at the end. When you first start, just write. You’re more likely to have gems if you’re whittling down.
  • Avoid clichés, generalities, and obvious stakes. Use unique words to convey your voice (and do this in your manuscript as well).
  • Cut out every word that’s not essential. Too much detail bogs the story down.
  • When you think your query is ready, get fresh eyes on it—family (my husband read a thousand versions of my pitch), friends, and other writers you meet through Twitter. Start with those familiar with your book, then end with people who know nothing about it. The latter will help identify confusing elements and will let you know if the pitch as a whole is not grabbing enough. Then, seize every critique opportunity by entering contests.

You can read Gloria’s winning pitch for AMERICAN PANDA here.

About Gloria:

I earned a bachelor’s degree from MIT and graduated magna cum laude from Tufts Dental—the perfect Taiwanese-American daughter. Except I wasn’t happy. To get through practicing dentistry, I wrote. It took years to gather the strength to push my dental career aside, against my parent’s wishes, to pursue writing full-time. Our relationship suffered, but my most recent novel, AMERICAN PANDA, strengthened our bond by forcing me to ask questions I never dared before. Now, my mother and I laugh about fermented tofu and setups with the perfect Taiwanese boy (though I think she still worries about my expiring ovaries).

You can find out more about Gloria at her website and on twitter.

Website: https://gloriachao.wordpress.com/

Twitter: https://twitter.com/gloriacchao

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.

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