How to Get Your Book Successfully Published
LIMITED TO 8 WRITERS
We have helped hundreds of writers get successfully published through our workshops and our book, The Essential Guide to Getting Your Book Published. Now we are opening up our home and taking to the web to host two six-week master classes that will be tailored to the books of the eight writers who participate. You will come out of the master class with:
- A polished pitch
- A bio that brings the best out in you
- Comparable titles
- A publishing strategy: Agent/Big 5 publisher, independent publisher, or self-publishing?
- A list of agents or publishers tailored to your book
- A toolkit to build your platform
- And much more
The class will be limited to eight writers.
WHEN: In-person classes will be Mondays from 7-9PM beginning September 17, 2018. Online classes will be Sundays from 3-5PM (EDT) beginning September 16, 2018.
WHERE: We’re hosting the in-person master class in Montclair, NJ. The online master class is open to anyone with an internet connection anywhere in the world.
PRICE: $650 through June 17, 2018. $750 beginning June 18.
Interested? Want to join a master class?
Contact us at firstname.lastname@example.org for more information.
Nano Nation: You are all WINNERS! We had such a blast with this year’s National Novel Writing Month Pitchapalooza. So many pitches with AWESOME imagination and an ASTOUNDING display of talent. Thank you so much to all the writers who participated in this year’s NaNoWriMo Pitchapalooza!
AND THE WINNER IS …
This year’s Fan Favorite is CLARE VATERLAUS BIRD for her book The Cost of Silence! Her pitch is timely, full of stakes, and has a terrific title. She gets a free one-hour consultation with us (worth $250). Congratulations, Clare!
Kudos again to MARY JO TALBOT, NaNoWriMo Pitchapalooza winner for Watching Wilhemina, a middle grade novel about a rock-guitar loving girl, her diagnosis with type 1 diabetes, and her discipline-challenged service dog. Mary Jo will receive an introduction to an agent or publisher appropriate for her manuscript.
We hope you’ll keep in touch. If you’d like to receive monthly publishing tips delivered to your inbox, click here to let us know. We’ll also share info about our live Pitchapaloozas and workshops around the country. Get publishing tips on our YouTube channel, and chat with us on Facebook and Twitter.
We’re hosting a live Pitchapalooza in Brielle, New Jersey on May 1. We’ll announce our special guest judges soon. Come pitch us at the Brielle Public Library.
Starting April 18, we’re leading an eight-week master class that’ll teach you how to get your book successfully published in today’s ridiculously competitive marketplace. We hope you can join us. Learn more here.
Congratulations again to Clare, Mary Jo, and all the Wrimos who bravely shared their awesome pitches.
Aloha! The Book Doctors are headed to Hawaii.
Pack your swimsuits and manuscripts and join us at the Kauai Writers Conference, November 5 – 11, where we’ll be presenting with a cavalcade of world-class writers, agents and editors. Do yourself and your book a favor and come to the Garden Island, where bestselling and award-winning writers will help you get your manuscript ready for the world; where top agents and publishers (not the typical young and inexperienced publishing folks who normally show up at these conferences) will be ready and waiting to hear your pitch; where four-day master classes on how to build a platform (with us!) and how to turn life into art (with mega bestselling authors Christina Baker Kline and Kristin Hannah and Alice Hoffman), among many others, will be served up with mai tais with little umbrellas in them.
Because this is such a rare and wonderful opportunity, we asked if our readers could receive a 10% discount. And the kind folks at the Kauai Writers Conference have said YES! The code is bookdr789. Enter it on the checkout page.
We hope you’ll move fast because they are almost out of rooms at the hotel (great conferences sell out super fast). The conference hotel is the place to be. While you can stay anywhere on the island, the conference hotel is where you may run into the agent or editor of your dreams one night in the Tiki Lounge! This is how careers get made.
In addition to yours truly, Kauai Writers Conference has a lineup of rockstar authors, agents, and publishing insiders.
- Sara Gruen
- Kristin Hannah
- Alice Hoffman
- Christina Baker Kline
- Jane Smiley
- Garth Stein
- Scott Turow
- And more!
Where It’s Located
Kauai, the oldest of the Hawaiian islands, has waterfalls, rainforests, rare habitats, sculpted cliffs, and more beaches than the other islands. The conference is held at an exquisite resort nestled in a cove, a perfect spot for novice surfers.
What It Includes
- Four days of master classes (November 5 – 8)
- A three-day conference (November 9 – 11)
- Talks by beloved authors
- Intimate small group discussions
- Individual sessions with literary agents
- Group and individual consultations with leading experts on alternatives to traditional publishing
- An immersive Hawaiian experience
Who Should Attend
Any writer looking to get successfully published will benefit immensely from coming to this conference. And frankly, any human will benefit immensely from coming to Hawaii. Whether it’s in-depth writing instruction with some of the best authors and teachers in the world, or learning about the publishing business from industry insiders, or actually meeting an agent who could take you on as a client, the Kauai Writers Conference will be a boon for writers at all stages in their careers.
The conference sheds light on the ever-changing landscape of the modern book business. Traditional publishing, self-publishing, hybrid models: the faculty roster boasts experts who’ll help you realize what’s right for you and how to achieve your dreams.
See you in Kauai! Aloha.
Check out our upcoming events for Pitchapaloozas, conferences, and more.
So many writers, unpublished to bestselling, are networking-phobic. They didn’t become writers to schmooze, mingle, and hobnob. If this is you, and you want to NOT get published, and NOT find readers, by all means, continue to ignore this seemingly heinous but totally essential part of the publishing business. Lucky for you, dear friends and writers, we have a new Book Doctors video to help you stop being allergic to promoting and marketing.
When David first comes up with a book idea, he writes a pitch. He starts memorizing that pitch, and whenever anyone asks him what he’s up to, he says, “I’m writing a book.” Now, he’s not one of those people who gets right in your face and goes, “I’ll tell you about my book!” No, someone has to ask what the book is about. Then he has one minute to answer what his book is about. One minute. That’s his pitch. Networking makes you understand what a pitch is and how to make it better.
Why networking is important
While you’re at a party, talking about your book is important because you never know who people know. It turns out, your cousin’s best friend from college is now an editor at Simon & Schuster. Who knew? Talking about your book, while difficult for many people, is essential to getting this book out into the world. Networking could get your name in the subject line of an email to an agent, which will put you at the top of the slush pile. There’s no way to make these connections without opening your mouth.
Writers’ objections to networking
People are shy about their work, nervous about sharing it. They’re afraid. It’s time to confront those fears.
“I’m afraid someone will steal my idea.”
No one is going to steal your idea. Arielle has been working as an agent for twenty-five years, and she’s never seen that happen.
“I don’t want to brag.”
You don’t have to brag to tell someone about your book idea. Talking about your book is part of your job as a writer.
Perfecting your pitch and asking questions
Networking allows you to practice and refine your pitch. You’ll notice as you talk about your book that people might glaze over at certain points. Those are the parts you should cut. You’ll notice when they perk up and when they’re excited, parts you’ll want to accentuate.
Networking is also about being interested in others and asking them questions. Try questions like these the next time you’re at a party or a conference:
- What are you working on?
- What’s your book about?
- Oh, you work at ______, what do you do there? How did you get started?
What if you’re shy?
If you’re nervous about one-on-one, face-to-face networking, turn your attention to social media. You can share where you are in your writing process so others can get involved with the making of your book. Ask other authors about their books. Friend or follow other writers or people in the industry on Facebook, Twitter, or Instagram. See what they’re talking about and how they’re talking about it.
For example, let’s say you’re writing a book about dogs, and you see all these editors and agents who post about their dogs. That’s important information to know as you network and query your book.
David’s networking story
When David wrote his first book, he didn’t know anyone in the publishing business so he asked everyone he knew if they’d read his book. Turns out, his former commercial acting agent knew someone. She said, “Oh, my goddaughter is a literary agent. Would you mind if I gave her your book?” Well, it turns out that literary agent was Arielle. Not only did David get an agent out of networking, he got a wife.
Read author Kate Forest’s advice for writers, including her thoughts on networking. Need a little more help with networking? We’re here to provide coaching, support, and marketing advice.
You wrote your 50,000 words (or got pretty close!). You’re a winner. You felt the high. Now what are you going to do with your precious manuscript? That’s where we, The Book Doctors, come in.
For those of you not familiar with Pitchapalooza, here’s the skinny: You get 250 words to pitch your book. Twenty pitches will be randomly selected from all submissions. We will then critique the pitches during a live webinar on March 15, 2018 at 5PM PST, so you get to see what makes a great pitch. At the end of the webinar, we will choose one winner from the group.
The winner will receive an introduction to an agent or publisher appropriate for his/her manuscript.
Beginning February 1, 2018, you can email your pitch to email@example.com. PLEASE DO NOT ATTACH YOUR PITCH, JUST EMBED IT IN THE EMAIL. Include your title and your name at the top of your pitch. All pitches must be received by 11:59PM PST on February 28, 2018.
We will also crown a fan favorite who will receive a free one-hour consult with us (worth $250). On March 16, 2018, the 20 random pitches will be posted on our website, www.thebookdoctors.com. Anyone can vote for a fan favorite, so get your social media engine running as soon as the pitches go up! Connecting with your future readers is a vital part of being a successfully published author today. And this is a great way to get some practice. Voting closes at 11:59PM PST on April 1, 2018. The fan favorite will be announced on April 2, 2018.
If you purchase a copy of our book, The Essential Guide To Getting Your Book Published, by April 2, 2018, we’re offering an exclusive one-hour webinar where you’ll get the chance to pitch your book. Just attach a copy of your sales receipt to your email and we’ll send the link to the webinar dates.
Important NaNoWriMo Pitchapalooza dates
February 1, 2018–Pitch submission opens
February 28, 2018–Final day to submit pitches
March 15, 2018–NaNoWriMo Pitchapalooza live on YouTube
March 16, 2018–Voting for fan favorite begins
April 1, 2018–Final day to vote for fan favorite
April 2, 2018–Fan favorite announced
NaNoWriMo Pitchapalooza success stories
It’s been a great year for past NaNoWriMo Pitchapalooza winners. Gloria Chao’s novel, American Panda (Simon Pulse/Simon & Schuster) will be published in February. Read Gloria’s winning NaNoWriMo Pitchapalooza pitch.
“Winning Pitchapalooza gave me confidence and the courage to keep fighting. It also helped bring my manuscript to the next level.”
Are you feeling a little unsure about exactly how to craft your pitch?
10 tips for pitching your novel
- A great pitch is like a poem. Every word counts.
- Make us fall in love with your hero. Whether you’re writing a novel or memoir, you have to make us root for your flawed but lovable hero.
- Make us hate your villain. Show us someone unique and dastardly whom we can’t wait to hiss at.
- Just because your kids love to hear your story at bedtime doesn’t mean you’re automatically qualified to get a publishing deal. So make sure not to include this information in your pitch.
- If you have any particular expertise that relates to your novel, tell us. Establishing your credentials will help us trust you.
- Your pitch is your audition to show us what a brilliant writer you are, so it has to be the very best of your writing.
- Don’t make your pitch a book report. Make it sing and soar and amaze.
- A pitch is like a movie trailer. You start with an incredibly exciting/funny/sexy/romantic/etc. close-up with intense specificity, then you pull back to show the big picture and tell us the themes and broad strokes that build to a climax.
- Leave us with a cliffhanger. The ideal reaction to a pitch is, “Oh my God, what happens next?”
- Show us what’s unique, exciting, valuable, awesome, unexpected, about your project, and why it’s comfortable, familiar and proven.
NaNoWriMo Pitchapalooza FAQs
Q: May I submit more than one pitch?
A: Yes, you may submit multiple pitches. Please include your book’s title and your name at the top of each pitch.
Q: How are the 20 pitches selected?
A: The 20 pitches are randomly selected; however, we read all the pitches.
Q: Are the choices for fan favorite also randomly selected?
A: Yes. They are the same 20 pitches that we read during the webinar.
Q: If I buy a copy of The Essential Guide to Getting Your Book Published, how does the one-hour webinar work?
A: We limit each webinar to 20 people, which gives everyone the chance to pitch and get feedback.
Q: Where can I learn more about writing my pitch?
A: We offer resources on our YouTube channel. We recommend that you watch “The Art of the Book Pitch” and last year’s NaNoWriMo Pitchapalooza. Hungry for more examples? Check out our Pitchapalooza playlist.
We first met David Gilmore many years ago during a writing conference in Tucson, Arizona. He stood out among the other attendees in part because he was just so smart, funny. He had already done so much work as a writer, and he was a fantastic listener. When we saw that he had a new book out, How I Went to Asia for a Colonoscopy and Stayed for Love: A Memoir of Mischief and Romance, we decided we would pick his brain about writing, travel, love, and colonoscopies.
The Book Doctors: How did you learn to be a writer?
David Gilmore: Pretty much everything I’ve done in my life has been self-taught. I learned to write because I needed to clear my head so I could have a good night’s sleep when Xanax was getting a little expensive and addictive. I also learned to write when I had my radio show on Public Radio International (Outright Radio). Back before that I used to write in my daily diary as a kid. I would open up the little red vinyl book and scribble something profound like, “Normal day.” Doesn’t that just scream future author? I dunno. I guess I learned to write by being an observant person. I listen. I watch everything carefully. I ask questions. I feel too much. And this all fills my mind and at some point, I have to just start emptying it onto the written page. So, one could say writing has become a survival skill in not becoming overburdened by everything and everyone.
TBD: What are some of your favorite books, and why?
DG: Mostly I read non-fiction because with politics these days, really, who needs fiction? Basically, I’ll read anything by Michael Pollan, Bill Bryson, and Beth Lisick. It doesn’t matter to me what they write about, I’ll read it. I recently found a copy of The Life and Times of the Thunderbolt Kid in Goodwill and I bought it for a dollar. Bryson’s hyperbolic style has me squealing with delight. And he takes us back to a time in America — his childhood in Iowa — when life seemed simple and people didn’t go around with semi-automatic weapons in their suitcases. I’m currently reading White Trash by Nancy Isenberg because all that’s going on with Trump’s rise to power is dissected in that book. I also am reading God’s Hotel by Victoria Sweet about a doctor who works at an old almshouse in San Francisco caring for the un-curable. I like books that fill me with someone else’s life experience or help explain to me what in Sam Hill is going on here, and frankly, right now I am in need of a lot of ‘splaining.
TBD: Tell us about the long and winding road to writing How I Went to Asia for a Colonoscopy and Stayed for Love.
DG: The long and winding road began in the States where I had become bored with my romantic life and unable to afford health insurance. Coming from a long line of intestinal malcontents I was in need of a colonoscopy. I had read that Thailand was the place to go for overseas medical care, so on a whim, I just booked a flight and made an appointment for the procedure.
After having a colonoscope make its way through my long and winding intestines, much to my delight I found that Thailand actually suited me. I had the time of my life! And when I came back to the States, my life seemed so empty and dull that I just kept going back to Southeast Asia and expanding out from Thailand to Cambodia, Laos, Myanmar, and eventually Malaysia.
Then something really big happened. I don’t want to spoil the book, but I felt compelled, so to speak, to move to Malaysia. It wasn’t just a holiday. I gave up my life in the US and moved there. And within 6 weeks of arriving, I met the guy I’d been looking for my whole life. Thus began a storybook gay romance in a Muslim country, of all places. It was starting to seem like a plot from a book or a movie…something perhaps by Elizabeth Gilbert. I knew that if my Malaysian boyfriend and I ever got married, the book would have a full narrative arc and I really would have no choice but to write it. And that’s how it came to be.
TBD: We’re curious about how you approached publishing this book. Did you go after agents and publishers?
DG: I did go after agents. And there was some initial interest from several. I think, however, the raunchy beginning to the book may have put some of them off if they didn’t go beyond the first few chapters. However, I am of the belief that the publishing industry is no longer in its golden age and to be an author with an agent and a contract with a publisher isn’t really all it’s cracked up to be. I’ve heard too many stories of authors getting little or nothing from their publishers. I know friends who have book contracts who have to pay for their own book tours and do all their own marketing. Or agents who never found a publisher for their clients. I began to wonder what the point of a publishing contract was. I felt that my story was begging to be told NOW and couldn’t wait for agents and publishers. Thus, I jumped on the self-publishing bandwagon.
TBD: What are the pros and cons, the do’s and don’ts of self-publishing? How do you avoid some of the pitfalls?
DG: The biggest con for most people is that you’re on your own to produce and market it. For me that’s not a con because I am by trade a graphic designer, and so knocking out the cover and interior design is something I can do while watching Sarah Huckabee Sanders do her sour face at the White House press corps. The plus side of self-publishing is that you as the author have full creative control and no one is going to reject you because you’re unknown or frankly, your story is kinda dumb. Anyone can publish, which is a blessing and a curse. People have been known to strike a chord with readers and hit it big, but it’s a long shot and it’s a game. And if you’re up for playing the game without getting defeated by the odds that you’ll be a huge success, the world is your playground. But you know, when your book is released and you check the sales tally and on your first day you only sold 17 copies, well, you have only yourself to blame. And when you find that you misspelled something, you can’t call the editor and have a hissy fit about it.
TBD: This is kind of a personal question, but what was your budget for making the video trailers for this book?
DG: Hmm, let’s see…my budget. OK, the Marketing Budget Office has deliberated and just released the figures on the video trailer budget. It was zero. In addition to writing, I also make films so I just pulled those together myself from videos I shot over the years of traveling in Asia. The trailers seemed to catch people’s attention. Whether they translate to sales remains to be seen.
TBD: What was it like to have a colonoscopy in Thailand?
DG: Now that is a personal question! Basically, getting a colonoscopy in Thailand was just like in the US except at about 1/10th the cost. A colonoscopy, however, no matter where you are, is kind of a disgusting proposition. Being in Thailand makes it more fun because I find Asians so fascinating and amusing. Sitting in the “bowel preparation room” in Bangkok (appropriately appointed with brown furnishings), I’m more likely to have fun chatting with someone or watching inscrutably bad Thai daytime television. I did enjoy a night of frolicking in the world’s most extraordinary sex club with the cleanest colon on earth afterward. Perhaps that should have been the title of the book? Really, though, the book is not all about my colonoscopy (who would want to read about that) or even sex. The book starts out there and moves on to more meaningful adventures like the slow boat up the Mekong River, the Flying Nuns of Luang Prabang, and negotiating a gay relationship in a Muslim country.
TBD: How did writing this book about rediscovering yourself in the middle of your life change you?
DG: Well, I lost something significant in Asia: my loneliness. And I got my life back. For years I moped around America complaining about being middle-aged, nerdy, and unlovable. When I couldn’t take it any longer, I took off the tight shoe of American life and let myself go on an incredible journey of love. And I got what I always wanted — a partner — and brought him back to the US with me. His name is Chuan and he tucks me in bed each night and tells me he loves me. Meeting him turned my life around. I went from being a cranky curmudgeon to being contented, playful, and at least somewhat hopeful about my life.
TBD: Was there any part of your book that was particularly difficult for you to write?
DG: Yes. There is a chapter about a young student I had when I was teaching for the United Nations in Malaysia. He was a Burmese refugee who fled over the border from Myanmar fleeing religious persecution. I taught him and a bunch of adorable kids in a filthy, run-down, absolute hole of a school in a slum in Kuala Lumpur. Well, something awful happened to that boy and it broke my heart. It pained me so much to write that chapter, and to this day I cannot read it without bursting into tears. That boy’s life touched me and I will never forget him.
TBD: We hate to ask you this, but what advice do you have for writers?
DG: I don’t know that I’m in the position to be giving advice to other writers, honestly. But if I had to say anything to anyone about writing (or any creative pursuit) I would say this: be critical. Be REALLY critical of your own work. Ignore that nonsense about defeating the inner critic. The inner critic is very important to your process of refinement. I’m not of the school of belief that anything we create is beautiful and worthy. I believe the PROCESS is valuable to simply write whatever is on your mind. But I don’t believe that it is necessarily going to be worth reading by others. Reading and staying aware of current events and thought trends and history and keeping your eyes open to all aspects of society is very important, not just to being relevant but for one’s output to be taken seriously.
David Gilmore is a freelance writer, photographer, and filmmaker living in Tucson, Arizona. He was the host and producer of the Edward R. Murrow Award winning radio show Outright Radio, featured nationally on Public Radio International from 1998-2004. He is a NEA and CPB grantee and has contributed essays to theGay & Lesbian Review Worldwide, The Advocate, and was a contributing author in Johns, Marks, Tricks, and Chickenhawks. He is the author of the bookHomoSteading at the 19th Parallel — one man’s adventure building his nightmare dream house on the Big Island of Hawaii.
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We first met Grant Faulkner at one of the greatest gigs the Book Doctors ever had, presenting our writing workshops in rural Alaska. There were eagles, there were bears, there were drunken sailors, and there were lots of amazing Alaskan writers. Going through the writing process bonds you with someone, and we feel like Grant has become part of our literary family. His new book, Pep Talks for Writers: 52 Insights and Actions to Boost Your Creative Mojo, is out now, so we picked his brain about what it’s like running the amazing National Novel Writing Month organization and writing—and publishing—his own book.
The Book Doctors: Why in the name of all that’s good and holy did you decide to become a writer?
Grant Faulkner: I’m not sure that I had a choice. I’ve always felt like I was a writer. I took a fetishist’s delight over paper and pens when I was a kid. My mom bought me a little antique rolltop desk when I was 6, and I wrote my first story on that desk. I asked for a leather bound diary for my 7th birthday, and I’ve kept a journal ever since then.
When I was 20, I was deciding whether to be an economics or an English major, and I fortunately spent a semester abroad in France before declaring. I whiled away most of my time in cafes reading novels and writing. When I returned home, I spent the summer writing stories in a little shack on my grandmother’s farm. It goes without saying that I didn’t major in economics, and the field of economics is the better for it.
TBD: What were some of your favorite books as a kid? What are you reading now, and why?
GF: The book that most changed my sense of the world as a kid was Crime and Punishment. I was too young to truly understand it, but I stumbled on it in the library when I was 13, and I picked it up because I was writing a paper on crime. Dostoyevsky showed me the many layers and paradoxes of the human soul in a way I hadn’t imagined. I truly stared into the abyss. Raskolnikov still haunts me.
I just finished Leonard Cohen’s biography, and I’m now reading his book of poems, The Book of Longing. I can never get enough of Leonard Cohen’s voice in my head. I like the way the textures of his poetry influence the textures of my prose. I’m also reading Stranger, Father, Beloved by Taylor Larsen. I just met her, and I thought she was a fantastic person, and it turns out she wrote a really wonderful, probing book.
TBD: What was your inspiration for writing Pep Talks for Writers?
GF: I’ve talked to so many writers who want to write year-round, who want to finish their novels after National Novel Writing Month, but it can be challenging to keep writing. I think it can be a little like a New Year’s resolution. People buy gym memberships in January and show up to exercise for a month or two, but then it’s tough to keep going regularly the rest of the year.
I want people to prioritize creativity and develop a creative mindset so that they’re not just creative in November, but every day of their lives. Creative on the page—and beyond the page. The book offers 52 different angles on creativity, so I hope people will read an essay a week and work to develop a creative habit.
TBD: What were some of the joys, and some of the pains, of putting this book together, finding a publisher, and getting it out into the world?
GF: I’d never written a nonfiction book proposal, so that was a learning experience. I didn’t realize how involved the proposal would be. It was practically like writing the book itself—which was a blessing once I actually started writing the book. Fortunately, my agent, Lindsay Edgecombe, was a fantastic and generous guide.
Other than that, it was a great experience. I was fortunate to find a home for the book at Chronicle Books, which is the perfect publisher for it, and then I also had the perfect editor for it in Wynn Rankin. I hope the experience hasn’t spoiled me for upcoming book projects.
TBD: We give pep talks to writers all the time. What are some dos and don’ts of this very precarious activity?
GF: The interesting thing about being a writer is how intrinsically challenging it is, no matter if you’re a beginner or a seasoned pro. The anguish of self-doubt is always looming. The difficulty of making your ideas come alive through your words never ends. There are so many how-to-write books that deal with the nuts and bolts of craft, but the thing that matters in the end is sitting down to write, believing in yourself, taking creative risks, and writing your story.
That’s easier said than done, of course. Every writer, especially when finishing a long work like a novel, goes through cycles of despair. We all need to be reminded of why we’re doing this crazy activity of making art, putting our voice into the world. It’s easy to forget what a gift it is. It’s easy to forget that we need to constantly nourish our creative spirits.
TBD: What are you doing to promote and market the book?
GF: So many things. It’s been great to write articles on different creativity topics related to the book for publications such as Poets & Writers, Writer’s Digest, and The Writer. I’ve been on a lot of podcasts and radio shows, which have been really fun. And then I’m doing bookstore events, tweet chats, presentations at colleges and companies, and then speeches at writing and publishing conferences.
My favorite part of my job is talking to people about their writing, and promoting this book has deepened those conversations, so I love it.
TBD: How did you learn to be a writer?
GF: I learned how to be a writer mainly by writing. I unfortunately didn’t have a superhero teacher who mentored me along the way. I’ve read many writing guides and how-to books. I’ve taken writing workshops and even have a masters in creative writing. But I’ve learned most about writing just by showing up to write regularly, being in conversation with my favorite writers’ books, and experimenting in different forms.
TBD: You’ve been running National Novel Writing Month (NaNoWriMo) for a few years now. What have you learned from rubbing elbows, and various other body parts, with all those writers?
GF: I’ve learned so much from the NaNoWriMo writing community. We writers tend to be solitary creatures, or that is how we often think of ourselves. And it’s true, a lot of writing tends to happen in solitude. But if you trace the history of literature, you realize how it takes a veritable village to write a book. Think of Bloomsbury, Paris in the ‘20s, the Inklings, the Beatniks. The writers in those communities created each other as they were creating themselves.
Frissons of creativity tend to happen with others. When you engage with other writers, you’re naturally combining an assortment of different concepts, elaborating and modifying each other’s thoughts. Meeting regularly with others to write or get feedback is important, and not just for your creativity— it also keeps you accountable.
The NaNoWriMo writing community is such a wondrous playground of ideas. It’s so spirited, so encouraging, so generous. It’s not only made me a better writer, it’s made me a better person.
TBD: We hate to ask you this, but since your book is about writing, we kind of have to ask. What advice do you have for writers?
GF: Sit down. Try to remember the first story you wrote, the glee you took in exploring your imagination on the page. Hold onto the feeling of that gift and write. Write your story, your way—as if no one is going to read it but you. Write some more. And then keep writing, never doubting that the world needs your story.
The Book Doctors will host the eighth annual NaNoWriMo Pitchapalooza beginning in 2018. One winner will receive an introduction to an agent or publisher appropriate for their manuscript. Be the first to know about 2018 NaNoWriMo Pitchapalooza.
Grant Faulkner is the Executive Director of National Novel Writing Month and the co-founder of 100 Word Story. His stories have appeared in dozens of literary magazines, including Tin House, The Southwest Review, and The Los Angeles Review. His essays on writing have been published in The New York Times, Poets & Writers, Writer’s Digest, and The Writer. He recently published Pep Talks for Writers: 52 Insights and Prompts to Boost Your Creative Mojo with Chronicle Books. He’s also published a collection of one hundred 100-word stories, Fissures, two of which are included in Best Small Fictions 2016. Learn more at www.grantfaulkner.com.
We were absolutely delighted when we got a request from editor extraordinaire Peter Ginna to write something for a new book he was putting together called What Editors Do: The Art, Craft, and Business of Book Editing. Because Arielle is an agent and writer, and David is a writer and book doctor, we have a very different perspective than most people who make money editing books. We thoroughly enjoyed writing our piece, but it was much more fun reading some of the amazing pieces in this book. So now that What Editors Do is out, we picked Peter’s brain on what it was like to go from being the guy with the red pencil to the guy waiting to see how many red marks would come back on his pages.
The Book Doctors: As your subtitle suggests, and as your introduction states, being an editor today includes so much more than editing. What should you expect from your editor? Or if you’re looking to become an editor, what skills do you need to do the job well?
Peter Ginna: Let me answer those questions in reverse order. As I said in the piece that you mention, editing encompasses many different roles. The core of the job is still working with an author to make his or her text as good as it can be. Some editors inside publishing houses, and most freelance editors, focus almost entirely on that task. But most editors, especially in trade publishing, have to shepherd a book all the way from the author’s keyboard into the marketplace, so they have to be very involved in marketing, design, production, publicity—everything that goes into bringing that work to readers.
If you’re looking to become an editor, nobody expects you to be an expert at that stuff right away. But you need to have an interest in learning about it, because it’s crucial.
If you’re an author, you should expect your editor to be passionate about your book, and to treat you as a valued partner in the publishing process. For a lot of authors, the publishing house is a black box. The editor owes them frequent and honest communication.
TBD: Why is it that in relationships, as in books, it’s so easy to see what’s wrong with someone else’s stuff, but so hard to see what’s wrong with our own stuff? Is there any way to bring the editor’s outlook to your own work?
PG: It’s incredibly hard to judge your own work! That’s why there are editors. At the risk of seeming to suck up, your chapter in this book on self-editing for authors has great advice on this. At a minimum, put your manuscript away for a week (or longer) and reread it with fresher eyes. Read it aloud so you can really hear how it flows, or doesn’t. Even better, enlist some “beta readers” whom you can trust to give you an honest response.
TBD: We have found that editing other people’s books makes us better writers, and being writers helps us as editors. What did you learn from writing and putting together this book that you will bring back to your job as editor?
PG: Hah! —I learned how hard it is to meet your editor’s deadlines! And continuing from your last question, learned, from the author’s side, how valuable it is to be forced to think about why you said something a certain way, and whether there might be a clearer or cleaner way to say it.
TBD: While we’re on the subject, what was it like exchanging your editor hat for your writer hat? And did you end up cursing your editor silently or out loud? And what advice do you have for writers when they receive an edit back on their most precious book?
PG: I never cursed my editor, who was wonderful. My experience in thirty-plus years of editing has been that authors rarely cursed me out. I believe that what authors want, more than praise or even success, is to be read. For a reader to connect with their writing. If the author knows you’ve read their work really closely, even if you are criticizing something or asking them to change it, they are usually grateful. I have definitely found that it’s the best writers who are most gracious and receptive to editorial suggestions. (With very rare egomaniacal exceptions…)
TBD: We always tell people that editors and agents are trained to say “no.” Can you speak to the experience of rejecting books? Is it rote at this point or do you actually feel anything when you are rejecting? And if you dealt with rejection with this book, can you tell us how it felt to be on the other side?
PG: I understand why you say editors are trained to say no—we do it 95 percent of the time, or more. And especially as traditional publishers compete with self-publishing, we’ve heard a lot about the editor as “gatekeeper,” an image that makes you think of a bouncer turning away people from a hot party. But that’s not how editors think about it—nobody comes to work hoping to turn down a lot of books that day. Editors live to find books to publish, and new titles are the lifeblood of a publishing house. Every day you open your email hoping to find something you love. It’s easy to reject a manuscript that leaves you cold, but editors really agonize when they come across a book that shows talent but that they can’t make an offer for—either because colleagues won’t support it, or because it’s too flawed in some way. Fortunately for me, my editor and I worked together on creating What Editors Do from the beginning so I didn’t have to go through the process of pitching it.
TBD: Can you tell us the process a book goes through at a publishing house once a deal is made? And are there any differences in the actual editing process between a Big 5 publisher, an independent house, or an academic press?
PG: Whew, the process is quite complicated and anyone who wants a thorough description of it should read the chapter by Nancy Miller called “The Book’s Journey.” The first part of it is the actual editing, where editor and author revise the manuscript (sometimes several times). But there’s also a multi-pronged marketing process that begins at acquisition and really ramps up when the final manuscript is delivered. At that point there’s also the complex work of turning the author’s text into a printed or digital book, which itself usually takes several months.
The principles of editing don’t vary between presses, but it is often the case that academic presses do a kind of triage on their lists. They don’t have the resources to edit every book intensively, so many books don’t get too much more than a copy edit. However, for books where they feel the effort is appropriate, scholarly publishers often do just as good a job, or better, than trade houses. My editor, and the whole press at Chicago, did a superbly thorough job on What Editors Do. I should add that there are chapters in my book by editors from independent and academic presses who discuss their work in more depth.
TBD: Speaking of academic presses, What Editors Do is published by The University of Chicago Press. Why did you choose to go with a university press? Does the fact that they publish The Chicago Manual of Style influence your decision at all, since this is a book every editor needs to have on her desk? What was the experience like and how did it differ from the publishing experience of say, Bloomsbury, where you were Editorial Director?
PG: Chicago, in fact, proposed this project to me, which was some form of kismet because I had been thinking for some time about the need for a book like this. This subject made sense for them, because good publishers are always looking for books in areas where they’re already strong—they know the market and have a head start on getting recognition for new titles in that field. And for me, because Chicago is a leading publisher in this area, I was thrilled to be on their list. For an editing book, to be marketed alongside the Manual of Style is a big advantage. It’s hard for me to compare Chicago vs. Bloomsbury from the author’s point of view because I have only been an author with one of them. I’d say the main difference is that Chicago is placing more emphasis on marketing to courses and libraries than most trade presses would, and is less focused on the trade market.
TBD: Is it possible for writers to approach editors at larger houses directly? What is the best way of doing this?
PG: Realistically speaking, I would recommend authors try to find an agent before approaching publishers directly. It’s simply much harder to get an editor’s attention when you submit “over the transom.” That said, as an editor I was always open to an intelligent, well-targeted query. If an author wrote me and said, “I saw that you were the editor of Colin Dexter’s Inspector Morse mysteries. I’ve written a new crime novel with a brilliant, enigmatic detective and classic whodunit elements that I think will appeal to the same readers who love Morse,” I would always give that person’s work a read. I knew that the author had at least done some homework and thought about why they were sending it to me.
TBD: Our essay in What Editors Do is about self-publishing. Many people ask us, “If I self-publish my book, will it ruin my chances of getting published by a bigger publisher?” How would you answer this question?
PG: You probably know more about this question than I do, but especially nowadays I don’t think there’s any stigma attached to having self-published your work. What’s important is to self-publish your work well. If your self-published book is full of mistakes, badly typeset, or amateurish-looking, it will reflect badly on you. (Covers are hugely important!) But if you do a good job with it—and especially if you sell enough copies to show there is an audience for your writing—I think that gives you a leg up on finding a publisher for future work.
TBD: You rarely hear a kid say “I want to be an editor when I grow up.” This is particularly true if you don’t grow up in a typically white, well-educated, upper middle class environment. Chris Jackson has a brilliant essay in the book about the fact that there is little to no diversity in publishing despite all the talk about the issue. If someone is reading this interview and wants to become an editor but doesn’t fit into these boxes, what tips do you have for breaking into the business? How can you encourage someone to make the effort to break down doors?
PG: I would urge anyone, of any background, to read Chris’s essay because it shows how a person who is passionate about books found his way in publishing despite both his own handicaps—Chris says he didn’t know how to type a letter when he started out as an assistant—and the structural obstacles in the system. It’s unfortunately true that, like many other old-school businesses, publishers are oversupplied with applicants from privileged backgrounds with fancy college degrees, and they still hire lots of those people because it’s easy to do. The good news is that most every publisher understands the importance of diversity and many houses have explicit efforts under way to increase it, so it’s a great time to apply for a job in publishing.
Also, I truly believe publishing is democratic in the sense that, if you really love reading, and really know your way around books, and you’re smart and willing to work hard, that will get recognized really fast. And it’s actually way more important than whether you went to an Ivy League school. This may sound silly, but what we all have in common in the book business is that we love books! And being among people who self-selected on that principle makes for a pretty congenial working life. Whatever “box” you fit into, if you are one of those people who spent your teenage years reading with a flashlight under the covers, you should think about a career in publishing.
Peter Ginna is an independent book editor and the author/editor of WHAT EDITORS DO: THE ART, CRAFT, AND BUSINESS OF BOOK EDITING. He has worked in publishing houses for over 30 years, most recently as publisher and editorial director at Bloomsbury Press, an imprint he founded at Bloomsbury USA. Before that he held editorial positions at Oxford University Press, Crown Publishers, St. Martin’s Press, and Persea Books. Authors he has worked with include James M. McPherson, David Hackett Fischer, and David Oshinsky (all winners of the Pulitzer Prize), Daniel Ellsberg, Michael B. Oren, Alice Kessler-Harris, Suze Orman, and Colin Dexter. He comments about books, writing, and publishing at the blog Doctor Syntax, and has written for Creative Nonfiction magazine, Nieman Storyboard, and the Huffington Post. You can follow him on Twitter at @DoctorSyntax.
We met the ThriftStylers at one of the great comedy writers conferences in America: the Erma Bombeck Writers’ Workshop. We knew as soon as we saw them that they were special, in the best sense of that word. So when we found out they were coming out with a book, ThriftStyle: The Ultimate Bargain Shoppers Guide to Smart Fashion, we decided it was in everyone’s best interest to pick their brains about writing, style, and being awesomely thrifty.
The Book Doctors: What in the world made you want to write a book?
Reise Moore: I had been quietly thrifting for years and had started a thrifting blog that had gone defunct. Allison and I had a lunch date (the Roscoe’s Chicken and Waffles Summit) where she mentioned she and her twin Margaret (Peggy) had been kicking around a TV show on thrifting. I revealed that I was an avid thrifter and almost everything I wore, except underwear, was thrifted head to toe. Next thing I knew, Allison said, “So let’s work on this show.” I’m a mom of three and I was finishing up grad school at the Annenberg School for Communication and Journalism at USC, so all I was thinking about was sleep. But Allison is convincing. Next thing I knew, I was nodding and saying, “Yeah, when we produce the show.” The idea morphed into us writing a book first and using it as a calling card for a show.
TBD: Did you have any books that you used as models for ThriftStyle: The Ultimate Bargain Shoppers Guide to Smart Fashion?
Allison Engel: There aren’t that many books on thrifting, but the few I saw tended not to have the ring of truth. They showed fabulous couture quality items that the author admitted buying three decades ago in Paris and were not relatable to readers looking in their local Goodwill today. We made a conscious decision to buy items that were in thrift stores right now, and for each item shown we included the price we paid and where we bought it. We also wanted lots of photographs of people wearing thrifted outfits. We used our diverse friends and family as models (both male and female), further making the point that these are clothes and accessories that can be found and worn by real people right now.
Reise Moore: I wanted ThriftStyle to be a love letter to thrifting. I wanted readers to realize the creative possibilities by upcycling and making simple fixes. And I wanted people to understand that textile waste is real and thrifting is a way to recycle and reuse. I wanted ThriftStyle to be the ultimate book on thrifting. In the quest to achieve that, we touched on so much more, such as developing your personal style and using thrifting to support charitable causes. The book is way more than I imagined it would be at the onset.
TBD: How did you go about getting the book published?
Margaret Engel: Our original idea was to make ThriftStyle a television show, and we are now working with a Hollywood production company to do just that. When I was managing editor at the Newseum, the museum of news, I had worked with a publisher on several books about journalists. That publisher reconnected with me when his firm was merging with a larger publisher, Charlesbridge, and asked me if I had any ideas for a mass-market book. I mentioned that the three of us were starting work on a possible television series about thrifted clothing. He suggested doing the book first, and we dove in.
TBD: What were some of the joys, and some of the pains, of writing this book?
Reise Moore: One frustration in writing the book is in thrifting; most everything you find is one of a kind. Everything in our book — clothes, jewelry, shoes, handbags, belts — is thrifted. So there is no size up or size down if the clothes don’t fit your model. We were thrifting clothes and doing fittings before shoots. If it did not work on the model, the outfit you loved on the hanger was out the window and you had to go back shopping. Allison’s apartment was overrun with all things ThriftStyle. It looked like a Salvation Army outlet!
We have more than 350 photos in ThriftStyle. Shoot days brought me huge joy. They were tough and long. We were a skeleton crew jamming in a bunch of set-ups, but we were pushing the dream forward. It reminded me of my film school days. Our photographer, the amazing Roger Snider, was patient and flexible and the hardest worker of all.
TBD: We are married, and we’ve written several books together. What was it like to navigate writing this book with your twin?
Margaret Engel: Allison and I began writing books together in the typewriter and carbon paper days of the early 1980s, mailing finished pages to each other cross country in envelopes with stamps, so the advent of cheap long-distance phone calls and emails has made the process much, much easier. When we are writing, we can still have the world’s shortest phone conversations, because we don’t need to give a long preamble or carefully couch criticism. We can be quick and direct. We tend to write different sections and then send it to each other for edits. Working together in a room, with one person typing and the other looking over her shoulder, is not a recipe for success for us. It takes twice as long. When Reise joined the team, we used the same strategy. We divided up chapters – or parts of chapters – and each of us wrote separately, then emailed the results to the others.
Reise Moore: It was daunting to step into the dynamic of twin sisters who have written successfully together and you are the literal third wheel. Allison and I were friends first so I knew she was cool. But I was super concerned about Peggy and I wanted to make sure she was OK with it. I was super concerned about me because here I am suddenly writing alongside two very accomplished and successful writers who have had a whole lifetime of being each other’s sounding board. There were a lot of “what ifs” on my end. But I had to get over it quickly because I noticed early on that everything was about the work. Once I got over myself, we were cooking. I found the room to be as big and expressive and creative as I wanted to be, and it easily became a creative space we shared and collaborated in. We complemented each other well.
TBD: How did you get into the whole world of ThriftStyling?
Reise Moore: My big sister Barbara Biggs-Lester is a jewelry connoisseur with a stunning fully-thrifted collection, and she was my muse. It started with some cheaply made purses I was so proud to have scored on sale at a retail store. She saw them, was not impressed, and said, “Let’s go thrifting.” I discovered the quality and bargains I could find in a thrift store and took off. Soon after, I became aware that thrifting is green and philanthropic, and I never looked back. What keeps me thrifting now is I love the idea of looking good while doing good for the planet, for important causes and for my own creativity.
TBD: Can you give us the top-three list of dos and don’ts when it comes to finding awesome bargains for pennies?
- Don’t judge a thrift store by its cover. Some of the most amazing clothing I have found has been in a place I was afraid to walk into. The neighborhood was dicey, but once I was inside, the designer pieces were jumping off the racks. The folks were warm and friendly and most everything was priced between two and five bucks.
- Do seek out a top-notch dry cleaner. If you turn your nose up at thrifting because someone else has worn the clothes, please know that several studies have shown that even new clothes hanging in a store can be pretty darn dirty. We immediately take everything we thrift to the dry cleaner or wash it ourselves. If you focus on quality, natural fiber items at thrift stores (and you should), they deserve the extra cost of dry cleaning.
- Do develop a clear idea of your own personal style. Thrifting newbies often are seduced by the low prices and end up with armloads of items in a grab bag of styles. Being able to focus on the silhouettes, colors and styles that flatter you and make you happy can help you sift through the sometimes overwhelming thrift store inventory and find what speaks to you. Tastemakers and trendsetters know this, and that’s why some of the best-dressed people I have ever seen have been in thrift stores.
TBD: What are some of the things that you learned talking to all the people in the book?
Allison Engel: We realized the absolute explosion in thrift and consignment shopping in this country, with new online outlets and new brick and mortar chains, as well as the longtime charitable thrifts. The Association of Resale Professionals has determined that thrift stores generate $12 billion in annual revenue. One in six American adults now shop second hand, and they are increasingly drawn to thrift stores because they are eco-friendly. Textile waste is a huge problem, and thrift stores are luring millennials who are concerned about the issue.
We interviewed thrift shop owners, dedicated thrifters, personal shoppers at thrift stores (they exist!), professionals who help people downsize and organize their belongings, costume designers, tailors, dry cleaners, cobblers, re-weavers and many others, and filled the book with their tips and observations. We loved the hints we received from Chelsea Confalone, who scouts the bins at thrift stores where items are sold by the pound. She buys clothing in beautiful fabrics that might have a rip or tear and remakes them into items for her young children. She’s now taking sewing lessons. Pinterest can supply clothing redo ideas (look under “Remake Clothes” under the “Explore” tab), and YouTube has instruction videos. I love the idea that thrift stores can spark creativity and an interest in handmade, refashioned items.
TBD: Why should people thrift?
Reise Moore: People have a misconception that thrifting is just for folks without money or down on their luck. Don’t get it twisted, I can afford to shop retail and I definitely can afford to shop discount clothing stores. I thrift because I want to be a better kind of consumer. I don’t want my purchases to add to the huge issue of textile waste that is fueled by fast fashion. I want my purchases to count toward the missions of the charity-based thrift stores I frequent.
Also, I have never felt so creatively unchained when it comes to clothes. Your unique take on how you choose to clothe yourself is a form of self-expression. It can be unleashed in thrift stores because there is so much to choose from. When it comes to trends, nothing is better than thrift stores because trends often repeat or harken back to some specific decade. So if I see that ‘90s grunge or ‘70s chic is back, I can find original representations of the look in thrift stores. Nothing beats originals, as they are a much higher quality than what can be found in fast-fashion outlets. It is the reason why celebrities and fashionistas wear vintage and frequent thrift stores.
TBD: We hate to ask you this, but what advice do you have for writers?
Allison Engel: Be persistent. Most of the ideas we’ve had for books and plays have existed in our notebooks, computers and brains for years and years. We don’t give up on ideas we think are worthwhile, even if it takes others a while to agree. We had our Food Finds idea for several years before our first book was published – and we still were very early in identifying and chronicling the rise of American foods made by small, family-run producers.
If we hit a roadblock, we might abandon a project for a bit, but we simply hold the thought until we, perhaps, meet someone who will help it along, or wait for the topic to catch fire in the national consciousness. If we listened to naysayers and gatekeepers, we wouldn’t have published or produced much in our lives.
Allison Engel is a journalist who has written articles and produced photographs for Apartment Life, Metropolitan Home, Traditional Home, Country Home, Renovation Style, American Patchwork & Quilting, Quilt Sampler, Midwest Living, Palm Springs Life and others. She was a longtime columnist for Saveur, and her freelance articles have appeared in Esquire, The New York Times, Wall Street Journal, Washington Post and The Los Angeles Times. She and her twin sister wrote three editions of a book on family-run food producers (Food Finds: America’s Best Local Foods and the People Who Produce Them) for HarperCollins, which they turned into the show Food Finds for Food Network that ran for seven years.
She holds a dual bachelor’s degree in textiles/clothing and journalism from Iowa State University, a master’s degree in screenwriting from the University of Southern California and was a Knight Journalism Fellow at Stanford University. A play she wrote with twin sister Margaret Engel, Red Hot Patriot: The Kick-Ass Wit of Molly Ivins, attracted Kathleen Turner for its premiere production, and has received several other record-breaking Equity productions around the nation in the last three years. A second play, Erma Bombeck: At Wit’s End, had its premiere at Arena Stage in Washington, D.C., last year, an Equity production in Cincinnati this past spring, and several upcoming productions scheduled.
For five years, Allison was senior editor of the University of Southern California alumni magazine and web editor for USC News, and she currently is the associate director of the Los Angeles Institute for the Humanities at USC.
Maricia “Reise” Moore has more than 16 years of experience producing and managing productions, including shows for Animal Planet and A&E’s Biography. She is a graduate of the University of Southern California’s School of Cinematic Arts with an emphasis in production, and holds a master’s degree in communication management from the Annenberg School for Communication and Journalism at USC. She is currently an executive in charge of production for the Campus Filming Office at USC, overseeing major production companies on feature films, network and cable television and national commercial shoots.
Reise is a thrift store fanatic. What started out six years ago as a grudging trip to a thrift store swiftly became a passion for quality and beautiful, unique clothes at a rock bottom prices. She prides herself on dressing head to toe every day —including accessories—in fabulous thrifted finds. When she is not combing the aisles of thrift stores, she is happily being mom to three kids and wife to her writer husband in Los Angeles.
Her first book, ThriftStyle: The Ultimate Bargain Shopper’s Guide to Smart Fashion, written with Allison Engel and Margaret Engel, was published in September 2017. Reise and the Engels currently are working with a production company to turn the book into a television show starring Hollywood costume designers who shop at thrift stores to help everyday consumers solve fashion problems.
Margaret Engel directs the Alicia Patterson Journalism Foundation and was the managing editor of the Newseum. She was a reporter for the Washington Post, Des Moines Register and Lorain Journal and was a Nieman fellow at Harvard. She co-wrote Food Finds: America’s Best Local Foods and the People Who Produce Them with her twin Allison, and helped turn the book into a show for Food Network, where it ran for seven years.
She and Allison wrote the play Red Hot Patriot: The Kick-Ass Wit of Molly Ivins, which is still being produced regularly, and has had about 35 productions to date around the country. She also co-authored the play Erma Bombeck: At Wit’s End, which has had several Equity productions, with upcoming productions in Arizona, New York, New Jersey, Florida, Virginia and Ohio.
She has served on the board of Theatre Washington/Helen Hayes Awards, the Fund for Investigative Journalism and chairs the Robert F. Kennedy Journalism awards board. She is a judge for the Boston Globe’s Spotlight awards and is a member of the Nieman Foundation board.
She and her husband, Bruce Adams, wrote three editions of a Fodor’s travel guide to America’s baseball parks, with the help of their children, Emily and Hugh.
Since the first writer wrote the first story by chiseling it into a large rock, then had her creation rudely rejected by the first publisher down in some dark, cold cave, writers have been asking the question: Why? Why didn’t I get a six-figure book deal? Why did the agent who loved my query then proceed to ghost me? Why did all those editors turn down my book, which almost certainly would be the greatest book in the history of books, if only they bothered to publish it?
The Book Doctors will answer these question, and so many more, in their upcoming webinar. From the nuts and bolts of having a great pitch, a totally awesome first sentence, a mind-boggling first page, a righteously compelling platform, and dealing with the eccentricities of a cruel God in an uncaring universe, The Book Doctors will break it down as only they can.
Figuring out how to not only deal with rejection, but actually to learn from it, and move forward with intelligent (as opposed to stupid) persistence is often the difference between succeeding in publishing, and ending up heavily medicated. We don’t want you heavily medicated. Come to our webinar instead. You can do it in your pajamas with bad hair!