The hardest part of my job as a book development editor is delivering bad news to a writer. An agent is not interested in offering you representation. An acquisition editor decides to pass after reading your proposal and sample chapters. You failed to make necessary editorial revisions. Rejection is a hard message to deliver. And it happens to be a task I do more often… [Read More]
Getting your writing published in a literary journal is an important way to improve your chances of getting your nonfiction (or memoir) book manuscript published. When your writing is published in a literary journal it provides a publisher with evidence you can meet professional standards and others find your work compelling. Literary journals are often considered gatekeepers to the publishing community. Which literary journals should… [Read More]
So you’ve just finished the latest offering by James Patterson, Robert Ludlum, or Pitticus Lore, and you’re wondering if it was traditionally authored, co-written, ghosted, or something else entirely. Good question. In the case of Patterson, who has put out 140 novels thus far – 15 in 2014 alone – he pays others to write the books for him. These writers don’t receive royalties, but… [Read More]
Two novels. Both are set during the Second World War and yet neither is a war story. Anthony Doerr, All the Light We Cannot See, won the Pulitizer Prize for fiction this year. Read it to gain an appreciation for what editors mean when they say “character-driven plot.” This is much more than a story about WWII. Marie-Louise is a blind 14-year-old girl… [Read More]
“There’s a long history, of women especially, saying ‘Well, I just got lucky.’ I didn’t just get lucky. I worked my f***ing a** off. And then I got lucky. And if I hadn’t worked my a** off, I wouldn’t have gotten lucky. You have to do the work. You always have to do the work.” –Cheryl Strayed, author of Wild and Tiny Beautiful Things Simply… [Read More]