David Henry Sterry

Author, book doctor, raker of muck

David Henry Sterry

Tag: marketing

Portrait photo of Patricia Perry Donovan

Patricia Perry Donovan on Hurricane Sandy, NaNoWriMo, and the Dreaded Sophomore Jinx

We first met Patricia Perry Donovan several years ago when she won our Pitchapalooza event (think American Idol for books, only much gentler and much kinder) down at the Jersey Shore. She had a great success with her first book, and At Wave’s End, her second novel, dropped this week. So we thought we’d pick her brain about books, writing, and how—when it comes to novels—it’s different the second time around.

Read this article on the HuffPost.

Portrait photo of Patricia Perry Donovan

Patricia Perry Donovan

The Book Doctors: Many congratulations on the publication of your second book. Tell us about At Wave’s End.

Patricia Perry Donovan: I’m delighted to. Inspired by Hurricane Sandy, At Wave’s End is the story of Connie Sterling, an impulsive woman who wins a ramshackle bed and breakfast at the Jersey Shore. When a deadly hurricane hits, Connie finds herself in over her head, requiring her adult daughter Faith, a Manhattan chef, to bail her out. Once Faith comes to Connie’s rescue, the storm’s aftermath dredges up deceptions and emotional debris that threaten to destroy the inn’s future and their fragile mother-daughter bond.

TBD: Do you do research for your books? Were there any other books that influenced your writing of this book? Do you outline before you start writing?

PPD: I’m also a journalist, so research is second nature. However, in this case, having lived through a coastal superstorm, I could mostly write from experience. I did research Hurricane Sandy’s actual timeline to lend authenticity to the book’s fictional Hurricane Nadine.

Influence-wise, At Wave’s End began as a series of short stories I penned in the storm’s aftermath. I had hoped to entwine these stories in a novel, a la Elizabeth Strout’s faultless Olive Kitteridge. That didn’t exactly happen, but I still wrangled a fairly large cast of characters in this book. I’d still like to one day write a novel comprised of linked stories.

And on the question of ‘pants-ing’ versus ‘planning,’ I’m a card-carrying ‘seat of the pants’ writer. However, I surrendered that luxury in order to meet my publisher’s deadline.

Cover of At Wave's End by Patricia Perry Donovan; cropped woman of a woman's back in fron t of a beach holding a shell

Lake Union Publishing

TBD: Were you worried about the dreaded sophomore jinx? Did this affect you in any way?

PPD: Gee, I didn’t really think about a ‘jinx’ until you mentioned it! But yes, it’s terribly daunting to write a second book during the launch and review of your first. On the one hand, my writing felt stronger the second time out. On the other hand, I needed to make a concerted effort to close myself off from all Deliver Her feedback (both glowing and gut-wrenching) in order to complete book two.

TBD: What did you learn from writing your first book that you could apply to your second?

PPD: SO much. First, in terms of process, I tapped into the trove of guidance from my gifted team of Deliver Her editors. I could hear these ‘book whisperers’ in my head as I wrote At Wave’s End.

Second, I discovered a delightful community of readers, who love to interact and share snippets of their lives, and immersed myself in the world of book reviews. My skin is thicker as a result! Here, I must acknowledge my amazing tribe of fellow Lake Union authors, who welcomed a newcomer with open arms. As a group, we shake off (and laugh off) the more distasteful aspects of publishing and savor the favorable ones.

The entire experience reinforced my desire to write the kind of stories I enjoy reading: family dramas with a dollop of dysfunction, but also a glimmer of optimism.

TBD: What did you learn from your first book that you could apply to your second in terms of promotion and marketing?

PPD: I’ve improved my advance game this time around, investing many more pre-release hours attempting to put At Wave’s End in influencers’ hands. As a debut novelist, I didn’t grasp the importance of this.

Also, I’m trying to rein in my time on social media, which, if I’m not careful, quickly consumes my writing window. I can’t avoid it right now during At Wave’s End’s launch. The other day, my first waking thought was the edit of a tweet I’d sent the night before. If that’s not a warning I need to cut back, I don’t know what is!

My goal is to create a balance. While I’m thrilled with my success as a novelist, I miss those early days of writing in the dark only for myself.

TBD: Do you have an agent representing you on these books? What was your experience working with your publisher like?

PPD: I am represented by the fabulous Elisabeth Weed of The Book Group. And working with my Lake Union Publishing team is heavenly. They are responsive, supportive and attuned to writers’ needs.

TBD: Congratulations on the Writers Digest award. How did that come about?

PPD: Thank you! My short story “Still Life” won an Honorable Mention in the 84th Annual Writer’s Digest Writing Competition in 2015. That story resurrected Mia, a darling from Deliver Her, and also won an Honorable Mention that year in the Lorian Hemingway Short Story Competition. Who knows? We may see Mia in longer form one day.

TBD: Journalism tends to be short-form writing. How did you learn to tell a story that keeps going for 300 or so pages?

PPD: My fiction generally starts out in short form as a short story. Then, the best stories beg to keep going; in fact, they pretty much tell themselves. My job is just to keep up and capture them on the page.

I suppose I ‘learned’ to tell longer stories by participating in NaNoWrMo’s online novel writing competition. I would encourage anyone who thinks they can’t write a book to try it. There are no prizes, other than attaining a personal goal of writing 50,000 words in a single month. NaNoWriMo is a lot of fun, and taught me that with daily discipline, I could complete a book—a very rough one, but a book nonetheless.

TBD: Why would you write a book inspired by a natural disaster that impacted your own community, as well as thousands of others?

PPD: I read once that every novel is a love letter to someone. In this case, perhaps At Wave’s End is a love letter to my community. While Sandy spared my home, hundreds of thousands of storm survivors, including many friends and neighbors, weren’t as fortunate.

I actually organized this book into six parts, each named for a stage in a community Disaster Recovery model. I learned about the model in post-Sandy volunteer training. It’s similar to the stages of grief experienced after a death. The Reconstruction phase continues today, which is why I included this Afterword in my book:

This story is a work of fiction. However, in 2012, a storm of similar magnitude devastated the East Coast, killing thirty-seven people and destroying close to 350,000 homes. Although Hurricane Sandy forever altered the topography of countless neighborhoods, the destruction also triggered an extraordinary surge of community and compassion. With reconstruction ongoing at the superstorm’s five-year mark, this story is intended to honor Sandy’s survivors for their resilience and determination to rise above disaster.

TBD: We hate to ask you this, but now that you have two books under your belt, what advice do you have for writers?

PPD: Going back to my earlier comment about zealously guarding my writing time, I would advise aspiring writers to avoid becoming so consumed by the business of writing that you forget to get down to the business of writing.

Patricia Perry Donovan is an American journalist who writes about healthcare. Her fiction has appeared at Gravel Literary, Flash Fiction Magazine, Bethlehem Writers Roundtable and in other literary journals. The mother of two grown daughters, she lives at the Jersey shore with her husband, with whom she has fond memories of raising their young family abroad in France. Connect with her on Facebook @PatriciaPerryDonovanBooks and on Twitter @PatPDonovan. Learn more at www.patriciaperrydonovan.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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Photo portrait of Julia Kite smiling

Julia Kite on Tottenham Hotspur, Rejection, and Her Long, Strange Trip to Getting Published

We first met Julia Kite many years ago, when she won one of our Pitchapaloozas (think American Idol for books, only kinder and gentler). She pitched us a fantastic story, full of fantastic characters. It’s been a long haul, but her book, The Hope and Anchor, has finally found a home, so we thought we would pick her brain about writing, authorship, books, and all things publishing.

Read this article on the HuffPost.

Photo portrait of Julia Kite smiling

Julia Kite

The Book Doctors: Why did you decide to become a writer?

Julia Kite: I never decided on it— it simply happened. I learned to read at a very young age, starting in a curry house where the owner gave me a calendar to play with because the food was all too spicy for me and I had nothing else to do. I made my parents read it to me until I memorized what words looked like, then I figured it all out from there and ever since then I haven’t stopped. Eventually I realized that if I was reading books that other people wrote, then I could write them as well. I was often bored in school and I needed some quiet, unobtrusive way to pass the time without getting in trouble. Turns out if you look like you’re working on an assignment or furiously scribbling notes, you can get away with actually writing a story. To this day, I’m a wimp who can’t deal with anything hotter than chicken tikka masala. It’s sad. I know.

TBD: What where your favorite authors and books when you were a kid, and why?

JK: I always liked the realistic stories of other girls’ lives— Beverly Cleary’s books were favorites of mine, because Ramona was so relatable in her mischief and her well-meaning imperfection. I saw a lot of myself in Harriet the Spy, wanting to know everything about everybody and write it down in a book, and I must have read Matilda a million times. It didn’t hurt that when the film adaptation of Matilda came out, I looked like Mara Wilson with a bigger nose. What fiction did to me was give me aspirations— look at these fascinating lives other people are having!

TBD: How did you learn to be a writer?

JK: I got there by first reading everything in sight, and then by being constantly observant of the world around me. I strongly believe that there’s only so much you can directly teach someone when it comes to writing. Being able to write is the function of being able to read, listen, interpret, synthesize, and abstract. These are skills you can only refine by going out and living in the world. You learn by doing. To be honest, eavesdropping on trains and in cafes probably taught me more about dialogue than any how-to book. Strange as this may sound, boredom also has had a lot to do with it. When you’re bored, you think a lot about other people’s lives, about things you’d rather be doing, places you’d rather be sitting at that exact time. You imagine that everything else in the world is so much more intriguing than what you’re stuck in at that moment, and you imagine being a part of it, what you’d do if you were someone else. And that’s the bedrock of fiction.

While I love being able to learn everything about anything at any time using my smartphone, I worry that if I’d had one when I was younger, I wouldn’t have had the opportunities brought by boredom and letting my mind wander. I think that’s a necessity when you’re young, and if people lose that because there’s just so much stimulation, their creativity is going to suffer.

TBD: How did you find a publisher for your debut novel?

JK: What a long, bizarre, maddening trip it has been. The Hope and Anchor is actually my second novel. My first novel was called The Results and it was about two sisters in Liverpool who start up a betting ring, choosing people in their neighborhood who they believe deserve a bit of joy in their lives, based off one girl’s unwanted knack of correctly predicting how every soccer match is going to end. They end up in too deep and realize the only way they can make a clean break with their pasts is to con everybody on the night of the Cup Final, making themselves rich and everybody else an enemy so that they can really never come back. The kitchen sink meets magic realism. I pitched it at your Pitchapalooza competition when I was living in San Francisco back in late 2011 (bloody hell). I ended up winning Pitchapalooza and it was a massive boost to my confidence, which was in the basement, because a year earlier I had abandoned my perfectly lovely life in London to move to California and study for a PhD, which turned out to be a disaster, to put it lightly. Within the course of one year I had gone from living the dream as a financially independent young woman with a decent job, a nice flat, a loving boyfriend, and one hell of a cute pet bird, to an anxious and depressed wreck running into bureaucratic brick walls with my research, earning barely above minimum wage, living in a neighborhood where I couldn’t wear sandals for all the used needles on the pavement, essentially undergoing massive culture shock in the country where I was born. California and I didn’t get along. I couldn’t even watch my beloved Tottenham Hotspur thanks to the eight-hour time difference, and if that means nothing to you, suffice it to say that is a very big deal. The one thing I still had was my writing. No arrogant professor or unhinged person screaming under my window at 3 AM could take my imagination away from me.

After Pitchapalooza, I was convinced my luck was going to change, and I would finally be getting somewhere with my writing. And despite a significant number of rejections, for a moment it looked like that was going to happen. I began working with a well-established agent in England who helped me edit The Results. He really liked it, but explained that unknown new authors of literary fiction are difficult to sell. If he was going to take me on as a client, I had to prove I had more than one book in me. So I wrote The Hope and Anchor…and it didn’t do anything for him. We parted company. I read the writing on the wall and put The Results aside.

After realizing there was a reason average time to degree in my department was nine years, and recognizing there’s definitely something wrong when blood-soaked clothes on the street no longer faze you, I found the courage to quit my PhD and I moved back to the East Coast. While I worked on rebuilding my interrupted policy and research career, I went back to the drawing board with pitching The Hope and Anchor and followed all the directions, writing personalized query letters to agents, double-checking their guidelines, making sure I was doing everything they wanted. I had quite a few agents request my manuscript. Unfortunately, none of them bit. I received many rejections with zero feedback— the most common response was, “I just don’t love it enough,” and variations on that theme. It was frustrating to me, because there’s no way to improve without clear feedback and concrete criticism. It almost would have been more reassuring to hear that they thought I had some kind of deficiency of skill, because at least then I would know what I needed to fix, where I needed to improve. You can learn to improve your mechanics, but you can’t force somebody to fall in love.

There was one agent who replied to my query with incredible enthusiasm and asked for the full. A few days later, she wrote me a bubbly email about how she was halfway through and absolutely in love with the book, and she would get back to me the following week. I was on cloud nine but I knew I needed to be patient, so I waited. And waited. A week passed. Two. Three. I didn’t want to be an annoyance, but after a month of no contact I finally sent her a polite check-in and she rejected me with zero feedback. I asked her if she would mind telling me what hadn’t worked for her in the second half of the book, essentially what had cooled her enthusiasm, but I never got a response. And I was utterly gobsmacked. I understand that the sheer volume of manuscripts literary agents have to deal with precludes detailed feedback, but I felt that I had been strung along and that I had the right to be miffed about a process that put me on ridiculous emotional roller-coasters. That was probably the moment when I first considered that maybe my book wasn’t the problem, the industry landscape was.

At the same time, I was trying to learn as much as possible from people in publishing, and from authors who had found mainstream success. Yet every time I went to a talk by an agent or an editor or an author, I left feeling utterly despondent. An agent spoke to my writing group, gave us all kinds of advice for landing someone like her, then revealed that in the past year, she had signed exactly one new client out of a slush pile of over 400. Then an author with her literary fiction debut published by one of the Big Five told us she had spent most of her modest advance on hiring a publicist, and my jaw hit the floor and stayed there far longer than could possibly be sanitary because I thought the entire point of signing with the Big Five was that they took care of publicity for you in-house. A member of my writing group landed a top-notch agent, then found out that they wanted him to completely change the genre of his book before editors would consider it. I saw people get agents who didn’t sell their books, and they’d part a year later, back at square one. At a certain point, the practical part of my brain intruded and said, “You’re a complete unknown writing literary fiction, and every indication is that the odds are stacked against you, no matter how good a writer you are. Why are you making yourself miserable, trying to do the impossible?” In my day job I’m a very analytic person, very evidence- and data-focused, and all the statistics were screaming that continuing down the same path was not going to magically make a door open. It would only make me bitter.

Friends asked me why I didn’t self-publish, but I knew that was a road I didn’t want to take. It can be fulfilling and occasionally lucrative for genre fiction, but that’s not what I write. Then one day in my Facebook feed, a friend had shared a link to a book one of his work colleagues was funding on a website called Unbound. The author was Gautam Malkani, and I recognized the name— he had published an acclaimed book called Londonstani several years earlier, and was now crowd-funding his second book after parting with his publisher. I knew that if a writer as talented as Gautam was going this route, it had to be legit, and that if his publisher had dropped him, then clearly there were issues with traditional publishing. Friends of mine in music were going their own way, recording brilliant songs and releasing them independently, and I realized that publishing needs to innovate just as the music industry has done over the past decade. Clinging to romantic notions of an industry that has changed almost beyond recognition would not get my book into the hands of strangers, but trying something new and exciting just might. I vetted Unbound very carefully, then submitted my manuscript.

I know now that “I just didn’t love it enough” can mean, “It’s good writing, but it’s not going to sell a million copies, and I need a book that will sell a million copies for this to be worth my while.” It’s business, not personal. But I believe there’s still space for good writing that’s not necessarily going to have wide enough appeal to be a summer beach read— and fortunately Unbound does, too.

It’s funny, you work for years to get anywhere with your book, and then two offers come along at once. I turned down an offer from a literary agent on the day I signed with Unbound. I didn’t want to go through any more of the craziness.

TBD: What is your book about?

JK: The Hope and Anchor is a story about love and loss, at its very core. Not only the actual disappearance of a beloved person, but also coming to terms with how your life isn’t going to turn out the way you had always planned, and the need to put old dreams, as lovely as they may have once been, to rest.

Our protagonist is Neely Sharpe, a woman in her late twenties who once believed that as soon as she moved to London, she would be somebody. She figured her life would take off and she would have the bright, exciting future she had always wanted growing up in a satellite town. She figured she had done everything right: being middle-class, highly educated, and ambitious. On paper, it seemed like the city should have been hers for the taking. Unfortunately, the recession took the shine off her big dreams, and so she finds herself working a dead-end job and living in a scruffy, downmarket part of West London. The one bright spot in her life is her relationship with her girlfriend, a local woman named Angela Archer. Angela’s upbringing couldn’t have been more different from Neely’s: nothing much was ever expected of her, particularly after her mother died and her troubled older sister moved away. She has epilepsy, but insists on not being treated differently. Her job at the local leisure center is never going to bring in a living wage, but to Neely she seems happy.

Neely, in her increasing dissatisfaction with life, is prone to making foolish and self-destructive decisions. The morning after one of those bad decisions, she stumbles home hungover and finds Angela is gone. And she’s not answering her mobile phone. Oh, and the medication Angela should have taken yesterday is still sitting in its little box in their kitchen.

Doubt and self-loathing leave Neely unsure of what to do. Locals who have known Angela since childhood tell Neely not to panic, and not to treat her girlfriend like she’s fragile or stupid. Neely, meanwhile, fears Angela may have left deliberately, perhaps knowing more than she let on about Neely’s drunken hookups with a mutual friend— but then there’s the matter of that medication. She finally goes to the police, but not until after making a few more potentially unwise decisions along the way.

We meet Andy, Angela’s older sister, who thought she had left behind her difficult upbringing when she married a middle-class man, moved to the suburbs, and had children. With Angela’s disappearance she gets pulled back into a life she never wanted to see again. Neely’s search for Angela, meanwhile, is interspersed with flashbacks of Angela’s teenage years, where one particular event left her determined to never leave this particular corner of the city. Little by little, Neely finds out just how little she really knew about her girlfriend. It shatters her self-image as someone who should have been smart enough to not end up in this mess, but also gives her greater clarity about her situation. She has to get a grip, get a clue, and come to terms with how little she knows about life, love, and London.

Without giving away too much of what happens, Neely ends up scouring the city, from pubs, to parks, to the sewers in a snowstorm, ending up far more immersed in her girlfriend’s history than she ever imagined. The only shot she has at finding answers is to risk losing all the illusions she ever had about what her life would be like.

I want the reader to be left wondering how much of one’s past you can really leave behind, and whether it’s wise to even try to do so.

TBD: What inspired your novel?

JK: I used to ride my bike along the towpath of the Grand Union Canal in West London, usually going all the way from my flat near Paddington Station out to a suburb called Greenford. When I traveled along the bit that runs beside a railway depot and a nature reserve, I was struck by how much it didn’t feel like the city out there. It was wooded and quiet and it felt a million miles from the council estate where I was living at the time. I thought—and don’t take this the wrong way— that if anybody wanted to get away with hiding a body, they could probably leave it there and nobody would find it for quite some time. I really don’t know why I thought that. I’m not a morbid person. But it planted the seeds of this book in my head. After I moved to California, writing vividly about a place I missed so much helped keep alive my plans to eventually get back the happiness I’d had in London; I suppose it was a grieving process, really, for the life I thought I would have. I picked the title as the name of a fictional pub, a complete wreck of a place, not really realizing at the time how well it fit me when I was writing the book. While Neely is definitely not based on me, I can certainly empathize with her situation where her best laid plans have gone astray and the world is passing her by. Had I not been so miserable in California, she probably wouldn’t have been so rich a character, so you have to take the good with the bad.

The imagery of the Grand Union Canal, which runs through Neely and Angela’s neighborhood, is constantly present throughout the book, as is the London transportation network. They link Angela’s past with her fate, Neely’s dreams with her reality, and Andy’s old resentment and shame with her determination to have a better life. Angela’s father is a Tube driver on the Circle Line, which, unfortunately, was re-routed a few years ago so that it’s no longer a circle, so that kind of wrecks a bit of imagery, but oh well. My day job is in transportation policy, and I’ve always been intrigued by the topic. Most teenagers wanted their own cars but I just wanted to ride the train to the end of the line, looking out at different neighborhoods, watching people come and go and wondering about their lives. In that aspect transportation has been an oddly massive part of my development as a writer, even if I’m the first to admit it’s not exactly sexy. My background in urban policy and planning has taught me that the only constant in any city is change, and the corner of West London captured in The Hope and Anchor is no different. I knew I had to get my book out in the world before the neighborhood morphed beyond recognition. Whenever I go back there, it seems like another pub has closed, another new development I could never afford is rising. It’s already too late for the police station that features throughout the story… it has been turned into luxury flats.

The strangest thing happened the last time I was in London, last year. I went for a walk down the Harrow Road like I always do, but when I passed by the building I had chosen for Neely and Angela to call home, I noticed the door leading to the flats above the shop was on the latch. Not wide open, just a crack. I pushed it open, walked into the hallway, and it was exactly how I had imagined it, with the mail on the tile floor, even though I’d never set foot in that building before. In the book, the light in the corridor has long burnt out and Neely always has to feel her way up the stairs to her flat. Well, I tried hitting the light switch— and just as I had written it, it was burnt out. I kind of freaked out and ran back to the street at that point. It was just a bit too eerie.

TBD: Tell us about your publisher; they’re quite unusual.

JK: Unbound uses what is essentially a modernized form of subscription publishing, which was popular with everybody from Samuel Johnson to Mark Twain back in their day. Authors essentially crowdfund a certain amount in pre-orders of their book, with different rewards for different levels, much like Kickstarter but without the risk. Once the author hits their funding target, full production of the book begins, like at any other publishing house, and the books land on shelves in brick-and-mortar stores as well as online. Everybody who pledged gets their name in the book as a nice thank-you for helping it come into existence.

The Unbound model makes a lot of sense from a practical standpoint. I’m an unknown with a literary fiction debut. Most unknowns with literary fiction debuts don’t make heaps of money for their publishers. In fact, a few years ago the New York Times said that seven out of ten books overall don’t earn back their advance. These more “niche” books are essentially subsidized by the big bestsellers. What I now realize, after my long experience trying to get a literary agent, is that someone like me is simply a bad risk from a business perspective.

Fortunately, Unbound realized that, too— and made room for people like me. By essentially outsourcing the risk to me, they can bring my book into physical existence without worrying that they’ll pay out thousands in an advance, spend lots of money on production, and then potentially not recoup their investment. You wouldn’t be in business very long if you kept doing that, no matter how skilled your authors— hence the Big Five’s focus on the celebrity clients and proven best-sellers over debut literary authors. I first prove that I can bring in an audience, and then Unbound goes ahead and invests their time and money in creating the physical book to be marketed and sold like any other. The pre-orders show there is a market for the book, as well as provide a financial cushion prior to the full print run. I don’t get an advance, but books sold in shops or online after hitting the target net a much better royalty rate than most authors typically see.

Unbound also gives me as an author a bit more control than a traditional house would. For example, I deliberately chose to not do a hardcover. That’s for a very practical reason: I live in a small Manhattan apartment with another voracious reader, and bookshelf space is at a premium! While I love the look of hardcovers and they certainly give you that “I’ve made it” feeling, I rarely buy them because they’re expensive, heavy, and difficult to shove into a handbag to take on the subway. Producing one would have meant a higher funding goal as well. Paperbacks and e-books are what I like and what are going to sell more effectively than a hardcover, so that’s what I’m going to have.

Unbound is not a vanity press, nor are they a self-publishing service. What I love about them is that they seem truly dedicated to getting an audience for quality writing. For a house that has been around only six years, they’re punching above their weight; they had a book longlisted for the Booker Prize a couple years ago.

TBD: How do you plan to promote and market your book?

JK: Social media is a huge part of this. I’ve had my Twitter account (@juliakite) for… oh god, more than eight years now. You bet I have chronicled the long, long journey to publication, and my followers have been along for the ride, so it’s great to finally be able to have something to show them for it. To find people outside my immediate network, I think about what aspects of the book might interest people who have never heard of me. Number one is the setting. It’s massively important to the story, so I’ve been a bit cheeky and searched for tweets mentioning the Harrow Road and the Grand Union Canal, and reached out to clubs and businesses in the neighborhood. I cringe a bit sending unsolicited messages, but the worst that can happen is that someone calls me annoying and then I move on. I also made an author page on Facebook and ran an ad targeted specifically to people in London who listed reading and novels as an interest. While it wasn’t hugely successful, I did get a few pledges, and when you’re completely unknown, every new person reading your book matters. I’m not the best at self-promotion, but I need to learn if I want this to be successful! I’ve made a video, which is on my Unbound page, featuring a lot of my photography. I think that helps humanize the project a bit, even if my hard-to-place American accent might come as a bit of a shock to some…

Cover of The Hope and Anchor by Julia Kite; a river runs between a road and trees

A few months ago I was on Jeopardy, where I lost spectacularly on the final question after leading for the entire game, but had a great time regardless. The Jeopardy contestant community is surprisingly close, and it includes several bookworms. I’m also fortunate to be part of a writing group called the Columbia Fiction Foundry, which is hosted by the Columbia University Alumni Association. All of us have the goal of being commercially published, and so we support each other. We’ve got a considerable mailing list that hopefully I haven’t completely irritated yet. The members of the workshop have seen this book come together over the past couple of years, and I hope that when they finally have copies in their hands, they’ll know they were an important part of it.

Several Unbound authors already have established careers in journalism, TV, or music, and many have successfully published before. Readers pledge to their projects knowing it’ll be something they will probably like. Me, I’m a complete unknown! I’m asking people to take a leap of faith, and it’s difficult to get a complete stranger to part with money when they’re not familiar with my work other than the excerpt on my Unbound page. I’m ridiculously grateful to everybody who has pledged, but especially to the people who don’t know me at all, because they’ve put their confidence in me. I really hope they’ll enjoy The Hope and Anchor.

TBD: What is your next project?

JK: Oh, wow. I feel like I haven’t had time to think about the next project because technically this first one isn’t finished! Sometimes I consider reviving The Results, but it may be time to simply let that one go. I feel like my next book will have to be set in New York City, as it’s a place I know as well as London and there’s infinite possibility for the kind of stories you could write about here.

I’ve been toying with the idea of writing about the aftermath of a fatal car crash, focusing on the surviving driver. In my job, we insist on saying car “crashes,” not car “accidents,” because even if it wasn’t deliberate, it’s down to the actions a person chose to take and which they could have prevented, rather than an act of God. That distinction is very fascinating to me and I think the exploration of personal agency versus chance is a pretty fertile seam to mine. But I’m still in the very, very early stages.

TBD: What advice do you have for writers?

JK: Be Patient. This was a difficult trait to cultivate in myself. I’m still not the world’s most patient person. If I had told 18-year-old me that I wouldn’t have a book deal until my early 30s, I probably would have torn my hair out. NaNoWriMo is great for motivation, but you shouldn’t expect a novel in one month. Not even the bad bare bones of one, if you have a day job. I’ve found that some of my best writing has come from times when I wasn’t expecting to generate anything substantial. I just started thinking, started writing, and what I created was far better than I expected. If you pressure yourself by putting time constraints on your writing, you miss out on the serendipitous joy of an idea simply popping into your head after ages of long slog.

Similarly, accept that writing the book is the easy part. You should expect to spend far, far more time editing and revising than you did actually getting the words onto the page. And it’s worth it. There’s no substitute for slow, deliberative, quality work.

Be judicious when incorporating autobiography. Remember that above all, your novel must be a work of fiction, and if you are constraining the possibilities of what you’re writing in order to match reality as you lived it, then you’re doing it wrong. Of course, you can lift scenes or character traits from your own life— if something interesting has happened to you, then why not? But be very careful. Your audience of complete strangers wants to read a good story, not your therapy session. They care about whether you can write an interesting, gripping book, not whether everything you’re writing about actually happened in real life. For example, I dropped out of a PhD, and I made Neely someone who has done likewise because I knew I could write really well from the emotional perspective of having derailed what you thought was your surefire plan in life. But the similarities largely stop there. Likewise, there are a few scenes where I’ve lifted the bare bones of the action from real life, but I fleshed them out with imagination. My bike rides along the Grand Union Canal are not Angela’s, even though we traveled in each other’s wheel ruts and looked at the same scenery. She can’t possibly be seeing things the exact same way I did, because she’s not me; she’s had a different life, a different perspective. The magic of fiction is that you get to create these characters who are nothing like you. You get to play God of your own tiny world in a way you can’t do anywhere else in life, so why force yourself to stay within your own experiences? That would be a failure of imagination. Why limit yourself to characters who only tick the same identity boxes that you do? That defeats the purpose of fiction, in my opinion.

I’ve found it’s quite obvious when fiction is really thinly-veiled autobiography. It’s difficult for your peers to critique honestly, because it feels like saying anything negative is casting disapproval on someone’s actual life. But without honest critique, you won’t have a decent book. If your real life is interesting enough to be fictionalized, you might as well write memoir, but remember that unless you’re Malala, Madonna, or Maradonna, few people outside your circle of friends and family will find it interesting.

Get a group. Writing feels like a solitary activity, but you must, must, MUST have readers giving you constructive criticism. Without the Columbia Fiction Foundry, The Hope and Anchor would have been a much weaker book. Your friends and family are lovely people, but they can’t always give you the tough critique you need to grow as a writer. As writers we pour our heart and soul into our work, so criticism can sometimes feel like an attack, but you have to force yourself to get over it. It’s medicine: taking it feels absolutely awful, but it’s what you need to get any better. In a good workshop environment, you’re all going to want each other to succeed, and that means hard truths and hard work, so remember that the people reading your work are just trying to make it the best it can be. Which brings me to my next point…

Don’t take it personally. This applies whether it’s a critique from a workshop or a rejection from an agent. Your work is separate from who you are. Someone not liking your story doesn’t mean they don’t like you. Someone thinking your book isn’t ready for publication doesn’t mean they think you’re talentless. It’s difficult, but you need to remember that writing this specific book is something you do, not something you are. You will fail at individual tasks— that’s simply part of learning and growing— but that does not make YOU a failure.

Cut, but don’t trash. For The Hope and Anchor, I created a Word document I titled excisions.doc, and I put in it everything that needed to be cut for the sake of the story, but which I felt was too well-written to simply throw away and get rid of forever. It functioned as a holding pen for good writing that simply wasn’t right for the moment. It turned out to be a wise idea; while doing a major revision, I found that lots of great lines that I had to cut from Andy when I made her a less central character were easily adaptable to Neely.

Don’t read the comments. Good advice for life, that.

Julia Kite lives in Manhattan, and calls New York City and London home. She is a graduate of Columbia University and the London School of Economics. Obsessed with cities and the people in them, she started her career researching housing and urban regeneration, and she now directs policy and research for Transportation Alternatives, New York City’s advocates for walking, biking, and public transit. Before she began working to make New York City’s streets better for cyclists, she was taking long rides along the Grand Union Canal in West London. She is a member of the Columbia Fiction Foundry, an alumna of quiz shows The Chase and Jeopardy, an urban wildlife rehabilitator, a keen amateur baker, and the owner of an opinionated parrot. The Hope and Anchor, currently funding on Unbound, is her first novel, a work of fiction about a very real place she holds dear.

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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