You may resist the idea that as an author you are a brand. It sounds so commercial, so corporate, so corny. But remember publishing is a business, and people buy books based on what they think about an author. Your brand becomes your reputation. “A brand is what other people say about you when you’re not in the room,” Jeff Bezos is credited with saying. How you present your books to the public and represent yourself as an author IS your brand. Even if you aren’t intentionally creating a brand, you’re still leaving people who currently follow you and your prospective readers with an impression of who you are. It’s in your best interest to become more intentional about branding yourself as an author. From your dust jacket to your social media efforts, your brand represents you and your book. Your brand helps you cultivate name recognition, but more importantly, it communicates to audiences whether or not you are trustworthy. It’s one thing to write from the perspective of an unreliable narrator in a work of fiction and an entirely different thing to be an unreliable author. Good strategy for the former, lethal for the latter. For more than a decade it’s been important to include an author head shot in your book proposal. The image you present of yourself is important to aquisitions editors because it’s important to readers. Your photo will be used in all publicity and marketing materials. If you’re the author of a children’s book, and…

Bett Dorion Fitzpatrick grew up in Newfoundland when there wasn’t a child alive who didn’t know the story about the tragic shipwrecks of the USS Truxton and USS Pollux. In this small mining town along Canada’s craggy shores, local villagers mounted a rescue operation and carried up the cliffs the 186 U.S. servicemen who survived the shipwrecks in the midst of a blizzard in February of 1942. This history of her hometown left an indelible impression on Bett, and she returned to it as an author when she retired from teaching. She conducted interviews with eyewitnesses, dug into the historical archives, and read every published account. She came to know the story inside and out. When Bett first contacted me in 2017, she had written her manuscript in verse. Yes, verse. I loved it. Like the ballad about the shipwreck of the Edmund Fitzgerald in Lake Superior, the poetic form suited the subject matter. But I recognized how challenging it might be to sell it to a commercial or trade publisher. This was hard news to deliver to such a talented author. A bit of a unicorn, the manuscript didn’t fit easily into an identifiable niche in the market. Several memoirs in verse had done well, but there didn’t appear any recent releases based on historical events. Bett bounced back like one of those cute yellow rubber ducky bathtub toys! She had hopes that this amazing history would be kept alive in a new book for the next generation, so…

“I am looking for authors with a distinctive voice.” [on an agent’s website] “Great premise but I couldn’t connect with the writer’s voice.” [publisher’s rejection] “The voice isn’t strong enough in the first ten pages to make me keep reading.” [agent rejection letter] So what do editors mean by “voice” when they talk about the craft of writing? Voice is the individual writing style of an author. It’s the way a narrator tells their story. When you put yourself into words it’s your personality on paper. Ouch. Does this mean the editor doesn’t like you? Not exactly. Criticisms of your voice, or the lack thereof, suggests you think about the way in which you express yourself in writing. Let your distinct personality, perspective, or world-view shine in your prose. Too often writers try to write in a manner so bland as to offend no one. It ends up sounding like something written by a committee instead of a real person. Or some try too hard to sound like an author whom they admire, and it feels derivative and inauthentic. Thinking about your voice means gaining a new critical self-awareness of how you sound to others (on the page). This is never easy or comfortable. And this feeling extends to our embodied voice and the discomfort and distortion we feel when listening to a recording of our own voice.  In a recent survey of 1,500 people, half said hearing their recorded voice was so harmful to their mental well-being that they would…