Episodios

  • Two reasons you're not landing a memoir book deal in 2024, with Courtney Maum

    Two reasons you're not landing a memoir book deal in 2024, with Courtney Maum
    Oct 1 2024
    In today’s episode I talk with author and creativity coach Courtney Maum of Before and After the Book Deal about what it means to write and publish memoir in 2024. She describes her own unconventional route into publishing, highlighting the importance of hard work and persistence over connections. She also shares insights into the craft of memoir, including the benefits of using a "dual timeline” structure, plus the need for writers to turn personal stories into universally relatable books. We also talk about the importance of publishing “off the book” pieces to gain attention, and the evolving landscape of self-publishing.Key Takeaways* There’s often a major disconnect between writers’ neuroses and what agents/editors think writers are worried about. This was a driving factor behind writing and publishing Before and After the Book Deal in 2020.* More than a developmental editor or book coach, Courtney calls herself a creativity coach. That reflects the core of her approach—diagnostic, focused on moving past emotional and psychological blocks, and providing “big picture” guidance.* Many writers of memoir set all the action in their books in the past; there’s no “present day” story in their books. This leads to “no forward momentum…no motor in the car,” as Courtney says. You can help resolve this issue by using a Dual Timeline structure.* In today’s market, writers of memoir also make the mistake of sticking to hyper-specific and personal stories. However, the books that are connecting most with publishers and agents now have a strong universal topic woven in. Again, a challenge that a Dual Timeline structure helps you address.* The idea that you’ll score a “quick Big 5, 6-figure book deal” in 2024 is a fantasy. Be prepared to put in hard work, and lots of trial and error with your agent queries, book drafts, proposals etc. Consider doing readings, book reviews, and publishing “off the book” pieces to help build your author platform.* Today many successful writers can move between self- and traditional publishing during their careers. Self-publishing can be a viable and lucrative option for authors, offering more control over their work and direct engagement with their audience.Discussed on this Episode* Before and After the Book Deal, by Courtney Maum. Buy it here.* Writing & Pitching Hybrid Memoir in Today’s Market was a course offered by Courtney Maum for Jane Friedman on June 26, 2024.* Memoir: Write a Personal Story for a Universal Audience is Courtney Maum’s online course introducing the “3-Act, Dual Timeline” structure* “Let’s Talk Self-Publishing,” published at Before and After the Book Deal, explores many of the same points Courtney makes on the showAbout Courtney MaumCourtney Maum is the author of five acclaimed books, including the groundbreaking publishing guide that Vanity Fair recently named one of the ten best books for writers, Before and After the Book Deal and the memoir The Year of the Horses, chosen by The Today Show as the best read for mental health awareness. Her parallel 20-year career in marketing and advertising has allowed Courtney to help writers improve their craft while also learning about the business of publishing so they can feel empowered—instead of bewildered—in a competitive and often classist industry. A Joyce Carol Oates prize nominee and frequently published essayist, Courtney writes across multiple genres and has published with the “Big 5,” Indies, Micro-presses, Audible and vanity presses, making her the perfect companion for the writing journey you are on. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit bookiwanttowrite.substack.com
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    43 m
  • From a rejected memoir to a 6-figure book deal with Melissa Petro

    From a rejected memoir to a 6-figure book deal with Melissa Petro
    Sep 11 2024

    In today’s episode I talk with author and cultural journalist Melissa Petro about her new book, Shame On: How to Be a Woman in the Age of Mortification. The book explores how, in a patriarchal society, shame is often weaponized against women, keeping them small and lessening their impact. Petro weaves in her own personal story, which included an early stint with sex work and her brush with public humiliation in 2011.

    We also talk about Petro’s 20-year journey to a six-figure book deal, the challenges she had selling a previous (PEN-nominated) memoir, and how becoming a mother triggered deeper insights into her own experience with shame. Her journey included interviews with over 150 people, which allowed her to understand how shame can be used as a tool for social control.

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    “I had this idea that I was going to write a memoir. And for the next 20 something years, I wrote, edited, revised, rewrote, pursued agents, went to the New School [to study] creative nonfiction, and I really was determined to write and publish a memoir. Only recently did it become the project it is.”

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    Key Takeaways

    * Shame as a weapon of control: The book argues that in a patriarchal society, women are indoctrinated to feel shame about almost every aspect of their lives—be it career, motherhood, or personal choices.

    * Intersection with motherhood: Melissa’s experience as a mother deeply influenced her understanding of shame. “The shame I experienced as a mother was so profound and familiar," she says. It gave her a broader perspective on societal expectations.

    * Hybrid memoir is a story bigger than yourself: A turning point in her writing journey came when her agent, Laura Mazer, told her she didn’t represent memoir. But she also suggested that her story could be about about something bigger. The work of excavating this bigger “what” shifted her writing career.

    * Becoming a “shame whisperer”: Beyond her own personal story, the book incorporates insights from over 150 interviews. Melissa describes herself as a “shame whisperer,” someone people naturally open up to with their deepest, most shameful experiences.

    * Confessional Essays: The confessional essay boom of the early 2010s was a pivotal moment for Petro and other women. Despite backlash, it gave women permission to tell their stories publicly, breaking down taboos. It led to stories about “complex sexual experiences, including assault and other forms of sexual violence,” which anticipated #MeToo by a few years.

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    "Shame doesn’t do anything to make us better. It does not make us work harder. It doesn’t make us correct our behavior. Shame just suppresses us, puts us down, and keeps us from rising up."

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    About Melissa Petro

    Melissa Petro is a journalist whose writing has been featured in The Washington Post, Allure, Cosmopolitan, Rolling Stone, Good Housekeeping, The Guardian, InStyle, and many other national publications. She was a finalist for the PEN/Fusion Emerging Writers Prize, and she holds a bachelor in Women’s Studies from Antioch and an MFA in Creative Nonfiction from The New School. She lives with her husband and two young children in Upstate New York.

    Credits

    This episode was edited and produced by Chérie Newman at Magpie Audio Productions. Theme music is "The Stone Mansion" by BlueDot Productions.



    This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit bookiwanttowrite.substack.com
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    39 m
  • Book coach Joelle Hann: There's a big gap between the dream and the published book (Re-release)

    Book coach Joelle Hann: There's a big gap between the dream and the published book (Re-release)
    Aug 28 2024

    Book coach Joelle Hann—aka “The Brooklyn Book Doctor”—joins me to discuss the journey from book idea to finished product. Joelle delves into common obstacles for first-time authors, the transformative nature of writing, and the importance of mindset and resilience.

    She also shares insights from her Book Proposal Academy and highlights trends happening in the publishing industry, especially post-pandemic. Whether you’re stuck at the beginning or seeking to refine your manuscript, this episode provides great guidance on navigating the daunting path to publishing. (This episode was originally released in July 2023.)

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    "When people get serious about writing a book and fulfilling this desire to have a book, that voice is really loud. Voice that says, no one wants to hear from you. This is not a good idea. It's already been done before. It's not interesting."

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    Key Takeaways

    * What many writers need is “mindset guidance” and “expectations guidance,” says Joelle Hann.

    * Developmental editing vs. book coaching: It's not just about refining the manuscript but nurturing the author's confidence and creative process.

    * Traditional publishing has shifted, especially since the pandemic. Joelle highlights the pressures on big publishers and how it affects new authors trying to break in.

    * One thing that surprises Joelle—and flummoxes new authors—is that while they bring enthusiasm to the process, they also face a big crash when confronted with their inner demons.

    * “When you get serious about the thing you want to do, your inner resistance comes and says, hold on a second,” she says. One way around this? Introducing mindfulness and somatic techniques to help authors move past blocks.

    * As a book coach, Joelle emphasizes the transformative process of writing, which often reveals bigger personal revelations beyond just the book. For those who face down their inner critics, they often discover unexpected resilience—a key to successful authorship.

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    "Editors can love a book and think it's phenomenal, still not be able to sign it because they don't have what they call a ‘vision’ for the book, which usually means they can't quite see directly how it'll turn into big sales…Now, that said, people are still getting book deals. My clients are still getting book deals. But it can take more work.”

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    About Joelle Hann & the Book Proposal Academy

    Joelle Hann is a book coach & writer helping authors write their books and proposals, discover their ideas, and harness their creative process. Her clients have been published with Big 5 and independent presses such as TarcherPerigee (Penguin Group), North Star Way (Simon & Schuster), Harper Wave, Workman, Wiley, Sounds True, Shambhala Publications, and more.

    Joelle’s Book Proposal Academy is a live, hands-on coaching program to help writers craft a top-tier book proposal, structure their book, write chapters, and prepare to become an author. Pitch a book that agents and editors are excited to buy!

    Past clients include authors Jillian Turecki, Sebene Selassie, Amanda Griffith-Atkins, Eileen Rosete, Catherine Simone Gray and more.

    This six-month program is the fast track to publishing and making book dreams come true. Learn more and apply here. The next cohort starts October 15th.

    Credits

    This episode was edited and produced by Chérie Newman at Magpie Audio Productions. Theme music is "The Stone Mansion" by BlueDot Productions.



    This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit bookiwanttowrite.substack.com
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    31 m
  • Joan Leegant:"I have no clue what I'm going to do when I sit down to write stories"

    Joan Leegant:"I have no clue what I'm going to do when I sit down to write stories"
    Aug 14 2024
    In today’s episode, I’m joined by Joan Leegant to discuss her new short story collection, Displaced Persons. Joan shares insights into her writing process, including how she often begins stories with no preset idea and allows stories to emerge from a first sentence. Many of Joan’s stories are set among immigrants and Americans living in Israel. And while Joan’s collection was accepted for publication before October 7th, it came in June, in the midst of a highly polarized and frightening time for people on every side of the current conflict. So we talk about what it’s been like for Jewish writers publishing today, and also the way that fiction allows for empathic connections not always available in daily life."My method of writing anything, particularly short stories, is that I have no clue what I'm going to do when I sit down to write it. I have no clue what it's going to be about." Key Takeaways* Joan's collection is set in Israel and America, focusing on displaced individuals. She highlights the interplay of naive Americans with complex realities, particularly in Israel.* A notable story, Displaced Persons, features an American teaching English to African refugees. Joan explores the absurdity of a country founded by displaced persons dealing with new displaced populations.* "The material just was kind of urging itself to come out," Joan says about the stories she wrote while working on other novels. It's a testament to the compelling nature of the themes she explores.* In Remittances, the narrator empathizes with marginalized workers in Tel Aviv. It's a story of immigrants in a land that symbolizes a second chance, reflecting Israel as a haven for those on the edge.* Another powerful story, Beautiful Souls, follows two American girls in Jerusalem. Their naivete leads them into dangerous situations, showcasing the often startling collision of American innocence with Israeli realities.* Joan’s stories on mental illness are deeply human, exploring family dynamics through the lens of mental health, not as a central theme but as a way to navigate complex relationships.* We discuss the impact of the Israel-Gaza war and the polarized publishing landscape. Though accepted before the October 7 attacks, Displaced Persons landed post-crisis, and Joan says she’s navigated the current landscape by focusing on the universal human elements of her stories.* Fiction is transformative. Joan cites the power of fiction to expand empathy, offering a “glimpse into some deeper truth.” It’s about illuminating the complexities of life through imagined worlds.* Leegant’s belief in the power of fiction to expand empathy is echoed by George Saunders, who describes a story as a "black box" that provides a deeper glimpse into human nature. "You need to illuminate human truth, but you do it through imagined stories," says Leegant.* Joan’s idea of “associative leaps” in writing, where characters’ truths emerge organically, enriches her storytelling. Her characters' voices and feelings drive the narrative, rather than a pre-planned agenda.* On navigating the current volatile landscape: Joan learned to balance sensitivity with openness, not shying away from broader literary and academic engagements, while being mindful of the potential for polarization.* During a recent visit to Israel, Joan facilitated writing workshops helping teachers process trauma through expressive writing, a poignant testament to the healing power of storytelling.* We discuss fiction’s ability to explore complex human conditions and to bridge gaps of empathy and understanding. "Our capacity should not be just read about people we already know, or we are exactly alike, but people we are nothing like," Leegant remarks."Our capacity should not be just read about people we already know, or we are exactly alike, but people we are nothing like." About Joan LeegantJoan Leegant's new story collection, Displaced Persons, won the New American Fiction Prize. Joan's first collection, An Hour in Paradise, won the PEN/New England Book Award and the Wallant Award, and was a finalist for the National Jewish Book Award and a Barnes & Noble Discover Great New Writers pick. She is also the author of a novel, Wherever You Go, named a "Significant Jewish Book" by the Union of Reform Judaism.Formerly a lawyer, from 2007 to 2013 Joan was the visiting writer at Bar-Ilan University outside Tel Aviv where she also gave talks on American literature and culture under the auspices of the U.S. Embassy and was a volunteer ESL teacher for African refugees and asylum seekers. She has taught at Harvard, Oklahoma State, and Cornish College in Seattle where she was the writer-in-residence at Hugo HouseAdditional Links* Displaced Persons has been selected for Hadassah’s One Book, One Hadassah read! Register here to join the virtual conversation on August 22 at 7 PM (ET)* Joan Leegant’s website and events schedule* On Moral Fiction (Kirkus Review), by John ...
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    35 m
  • Matthew Specktor on hybrid memoir, Hollywood failure & that time Marlon Brando left a voicemail

    Matthew Specktor on hybrid memoir, Hollywood failure & that time Marlon Brando left a voicemail
    Jul 31 2024
    In this episode, I talk with author and novelist about his recent hybrid memoir and cultural exploration, Always Crashing in the Same Car. We discuss his fascination with figures who faced creative crises in Hollywood, from F. Scott Fitzgerald, filmmaker Hal Ashby or musician Warren Zevon to more overlooked but similarly brilliant figures like Carole Eastman, the screenwriter of the 1970s classic Five Easy Pieces.We also explore the realities of growing up in LA, including being “celebrity-adjacent.” That’s perhaps best illustrated by the time Marlon Brando left an incredible monologue in the form of a voicemail. We do a deep dive into the attraction of hybrid memoir for fiction writer, Matthew’s approach to research, and whether it’s possible any longer to be a middle-class creative in Hollywood.--------------------------“All of those kind of impulses fused in me, and eventually, and I sort of realized, like, oh, this is what I want to write. I want to write a book that's a memoir that isn't about me, or a memoir that's only kind of, you know, partly about me.”--------------------------Key Takeaways* Always Crashing In the Same Car pays homage to figures who've faced both genius and marginalization in Hollywood, including Thomas McGuane, Renata Adler, Carole Eastman, Eleanor Perry, Hal Ashby, Michael Cimino, Warren Zevon & more. The book is about “those who failed, faltered, and whose triumphs are punctuated by flops...”* Matthew shares his fascination with Carol Eastman, best known for Five Easy Pieces. He was deeply touched by her prose writings, comparing her to poets like Hart Crane and Wallace Stevens.* The book and the interview also delves more deeply into women's contributions to Hollywood, focusing on other overlooked talents like Eleanor Perry and Elaine May. Matthew reflects on his mother, a one-time screenwriter, and how her generation had less opportunity to develop their skills.* Why a hybrid memoir? Matthew was reading, and inspired by, writers like Hilton Als, Heidi Julavits, and Olivia Laing. He wanted to create a narrative that wasn’t limited to—or rather moved beyond—the self, weaving together cultural criticism about Hollywood and creative crises.* We talk a lot about voice, which Matthew says is crucial for him to discover early on. “Once I can locate the voice for any piece of writing... I have it in the pocket,” he says. The narrator of this book blends personal reflections with a noir quality, he says.* Matthew sees himself as a novelist at heart. He considers the narrative tools of a novelist indispensable, even when writing memoirs and cultural critiques: “I am fundamentally a novelist….I think that's part of being a fiction writer or novelist is, you know, anything that you write is a kind of criticism in code. You're always responding to other texts.”* Matthew begins by explaining his unique research style: "I'm kind of ravenous and a little deranged about it…” His research process involves intuitive dives, like a two-day blitz through Carol Eastman's archives.* The discussion also touched on Matthew's upbringing with a mom who was a one-time screenwriter and who crossed the picket line during one writer’s strike, and his father, who had modest beginnings but went on to become a famous Hollywood “superagent” representing Marlon Brando, Morgan Freeman, Helen Mirren & many others.* At the same time, Matthew explores misconceptions around Hollywood glitz, addressing the middle-class reality of many involved in the film industry. For a long-time, Hollywood could support such middle-class creatives, Matthew contends, something that is no longer really possible.* Addressing the evolution of the entertainment industry, Matthew notes the shift towards debt servicing, influenced by corporate acquisitions. This financial pragmatism often overrides the creative impulse, squeezing the middle class out.* Another takeaway? The creative world, especially in Hollywood, is fraught with periods of drift and struggle. In one sense, Always Crashing In the Same Car is a love letter to that state of things.--------------------------"I still kind of think of [Always Crashing…] as being secretly a novel. Not because it's full of made up s**t…but because I think sometimes our idea of what a novel is is pretty limited. You know, there's no reason why a novel can't be, like, 98% fact."--------------------------About Matthew SpecktorMatthew Specktor’s books include the novels That Summertime Sound and American Dream Machine, which was long-listed for the Folio Prize; the memoir-in-criticism Always Crashing in The Same Car: On Art, Crisis, and Los Angeles, California, and The Golden Hour, forthcoming from Ecco Press. Born in Los Angeles, he received his MFA in Creative Writing from Warren Wilson College in 2009. His writing has appeared in the New York Times, GQ, The Paris Review, Tin House, Black Clock, and numerous other periodicals and anthologies. ...
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    38 m
  • Evan Dalton Smith:"'You can make a career out of writing weird, little books'"

    Evan Dalton Smith:"'You can make a career out of writing weird, little books'"
    Jul 17 2024
    Today’s guest is the writer and poet Evan Dalton Smith. His first book, part personal story and part cultural study, is called Looking for Andy Griffith: A Father’s Journey. We talk about the power of nostalgia, finding personal resilience, and pursuing meaningful storytelling.We also discuss the nearly decade-long journey of taking an 8,200-word essay (published in the Los Angeles Review of Books in 2013) and turning it into a full-length manuscript. And we talk about Andy Griffith's impact on pop culture, Evan's own experiences with father figures, and the challenges of writing through life's upheavals.I think Evan’s story exemplifies the intense and highly personal journey of writing a book—and how the most unexpected things can happen once you embark on that journey.--------------“When we first met, [my agent said], ‘this is a weird little book, but you can make a career out of writing a lot of weird little books.’ —Evan Dalton Smith--------------KEY TAKEAWAYS* The book explores the power of cultural nostalgia: Nostalgia is a power force in our media consumption. And The Andy Griffith Show is a rare phenomenon, like Star Trek or the Twilight Zone, in that its become a touchstone for many generations of viewers. Even in the 1960s, the show’s writers were feeling nostalgic—for them, the show’s setting and characters were based on their own experiences of the 1930s.* Evan's personal connection to the show is rooted in his childhood experiences of loss and search for father figures. Evan’s father was tragically killed in an car crash when he was 5, and his mother grew dependant on narcotics. Discovering The Andy Griffith Show provided something stable missing at home. What Evan discovered writing this book is that the show’s mythic, idealized version of small-town America has provided a similar balm for its many fans.* The journey of transforming an essay into a book-length manuscript can be a tough one. Transforming an essay into a full-length book can be fraught with challenges, especially when it involves personal stories interwoven with cultural analysis. Particularly when, as in Smith’s case, real-life intervenes.* Writing a book that balances cultural inquiry with personal narrative means pushing past discomfort into telling your own story. “I did struggle putting myself into the narrative…I added a lot more about my life than I intended to,” he says.* Often times one book project will point to the next one. In this book, Evan explored his mother’s struggle with narcotics, something he hadn’t originally planned to do. But it also laid the groundwork for his next book, which will wrestle with the personal and cultural costs of this particular drug.* Evan’s story dramatizes the very real life struggles many authors face to balance their writing with their life. Over the decade of this book’s journey, Evan went through an unexpected divorce and relocation, and he found himself working multiple jobs. In the end, it’s always about figuring out figuring out how to make use of little bits of time and learning to become more resourceful.--------------"I learned to write on my phone, which is annoying for the people in my life [who] think I'm just, you know, jerking around on my phone. But a lot of times I'm working." —Evan Dalton Smith--------------ABOUT EVAN DALTON SMITHEvan’s writing has appeared in the Washington Post, LA Times, Slate, Salon, LA Review of Books, Paris Review, Ploughshares, The New Yorker, and elsewhere.Formerly, he served as Associate Web Editor at Poets & Writers, Inc., and Director of Publications for the Student Press Initiative at Teachers College, Columbia University.Originally a native of North Carolina, he now lives in Ipswich, Massachusetts. Looking for Andy Griffith: A Father’s Story is his first book.DISCUSSED* Looking for Andy Griffith: A Father’s Story UNC Press | Bookshop | Amazon* Our Town: Andy Griffith and the Humor of Mourning, Los Angeles Review of Books, April 20, 2013* “Ten Questions for Evan Dalton Smith,” Poets & Writers, May 28, 2024* Out of Sheer Rage, by Geoff Dyer* Another B******t Night in Suck City, by Nick Flynn* Sherman’s March, a classic documentary by Ross McElweeCREDITSThis episode was produced by Magpie Audio Productions. Theme music is "The Stone Mansion" by BlueDot Productions. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit bookiwanttowrite.substack.com
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    32 m
  • How Jennifer Lang turned a "boring" 90K-word book into a 14K-word gem...& got her groove back

    How Jennifer Lang turned a "boring" 90K-word book into a 14K-word gem...& got her groove back
    Jul 3 2024
    Today’s episode features my interview with Jennifer Lang. Her memoir, Places We Left Behind, is a marvel of brevity and form. It’s the story of how one woman, a hybrid of American-French-Israeli identities, navigates cultural and religious differences with her husband over the course of three decades, as her family searches for what it means to find a sense of home.In our interview, Jennifer shares how she transformed a “long-winded, boring, and flat” 90,000-word draft into a concise and sharp 14,000-word memoir told through a fragmented structure—what she’s calling a “memoir-in-miniature.” She also addresses the critical feedback from a developmental editor, which helped her uncover an innovative structure.Finally, we talk about writing about other”: the emotional and creative negotiations involved in writing about her husband and their marriage, revealing how this process has both challenged and strengthened their relationship.----------------------"I had a very traditional manuscript of over 90,000 words when all was said and done. And it was really long-winded and boring and flat, and I hated it…I hired a developmental editor who gave me a lot of feedback. And one of the last things she said was, put it away for a while. Just let all of this sink in. And I think that was the best advice she gave me."----------------------KEY TAKEAWAYS* Transformation Through Editing: Jennifer Lang's journey from a 90,000-word manuscript to a 14,000-word concise and effective memoir underscores the fact that it can take time to figure out to figure out your story, and that brevity can be a crucial factor to remember.* Cultural Identity and Belonging: The memoir reflects Jennifer's complex relationship with her Jewish identity and her experiences living in California, France, and Israel.* Marriage and Memoir Writing: Writing about others is one of the most fraught areas of memoir for a reason. And writing about intimate relationships requires especially careful consideration. In Jennifer’s case, it ended up unexpectedly strengthening the bond with her husband.* Innovative Structure & Form: The fragmented, playful structure of Jennifer's memoir, with elements like strike-throughs and “chapterettes” as she likes to call them, adds a unique layer of engagement and depth to her storytelling.* Literary Community Engagement: Jennifer's work with the Israel Writer Studio highlights the importance of community in a place with fewer English-language writers.----------------------"The level of pain, trauma, loss is so beyond. I don't know how we're going to get out of it." —about the impact of Oct 7, 2023 on the Israeli psyche----------------------NOTABLE QUOTES"I have been writing around it for years, if not decades. I have been writing about longing, belonging, culture, language, community, other, and home. In short, in long, in essay, in short, memoir, in flash. I just kept going around and around and finally had time to figure out how to get through it." (0:02:50)"I really feel like the story of me bouncing between cultures starts way back. Like kindergarten way back." (0:03:46)"I think that when we write long or when we write without any kind of constraint, we are lazy with our word choice. And so putting the constraint on makes a writer understand that every word counts." (0:21:16)"If you're going to reveal a character's underbelly, you have to reveal your own. If you're going to fault a character for their flaw, you have to do the same for yourself." (0:24:01)"I think I did anything but make him a villain. I think in the end, it's like a love letter." (0:24:41)ABOUT TODAY'S GUESTJennifer Lang was born in the San Francisco Bay Area, lives in Tel Aviv, and runs Israel Writers Studio. Her essays have appeared in the Baltimore Review, Crab Orchard Review, Under the Sun, Ascent, Consequence, and elsewhere. A Pushcart Prize and Best American Essays nominee, she holds an MFA from Vermont College of Fine Arts and serve as Assistant Editor for Brevity.She is the author of the memoir Places We Left Behind. Her forthcoming memoir Landed: A Yogi's Memoir in Pieces and Poses, will be published by Vine Leaves Press in October 2024. Building off themes explored in her first memoir, Landed spans seven years (and then some), each punctuated with chakra wisdom from nationally-acclaimed Rodney Yee, her first teacher.LINKS* Jennifer Lang at the Israel Writer Studio* Places We Left Behind: A Memoir-in-Miniature* Landed: A Yogi's Memoir in Pieces and Poses (October 15)* “From Writer to Publicist: An Unexpected Pivot,” Brevity, March 15, 2023.CREDITSThis episode was produced by Magpie Audio Productions. Theme music is "The Stone Mansion" by BlueDot Productions. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit bookiwanttowrite.substack.com
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    30 m
  • What do you need to know about marketing your book in 2024? with Kathleen Schmidt

    What do you need to know about marketing your book in 2024? with Kathleen Schmidt
    Feb 21 2024
    Last year, I came across an essay called “Book Publishing is Broken” by today’s podcast guest, Kathleen Schmidt .Using her decades of experience in book PR & strategy, Kathleen laid out several reasons why traditional publishing fails writers. (If you haven’t already read that post, you’ll get to hear Kathleen’s reasons in our interview).And the essay really stood out…not just because Kathleen presented solutions to the problems she diagnosed…but also because her perspective was clear-sighted, well-informed, but also so honest, direct, and personal.I’ve been hooked on Publishing Confidential , Kathleen’s Substack newsletter, ever since. With over 5,000 subscribers, I think of it as one of the must-reads for any writer looking to understand today’s publishing landscape.In our interview, we talk about that landscape, about the utility of hiring an independent publicist, and the value of creating work that reaches beyond traditional media outlets.We also discuss why memoirs are one of the hardest categories for agents to sell right now, and what authors can consider to make their books more marketable.Kathleen Schmidt is the Founder and President of Kathleen Schmidt Public Relations, a boutique firm specializing in branding, PR, marketing, consulting, and business strategy for authors, publishers, and booksellers. She also writes and publishes the Publishing Confidential newsletter.Warning: this episode includes a brief mention of suicidal ideation. If you or someone you love is struggling with a mental health crisis, you can contact the National Suicide Prevention Lifeline at 1-800-273-TALK (8255). (In Spanish, dial 1-888-628-9454). Some of my biggest takeaways:Publishing too many books and lack of marketing support are primary reasons why the industry struggles.Publishers produce more books than the market can sustain, often neglecting to back many with substantial marketing efforts. "They publish far too many books," Schmidt states unequivocally. It's a perplexing situation that challenges authors and industry insiders alike. The ramifications of this are profound—not just for the discoverability and success of individual titles but for the long-term sustainability of publishing entities themselves.Schmidt expresses her consternation over the lack of direction regarding advances and acquisitions: "It's all kind of garbled and I feel like if you're not able to pay authors an amount that they can live on, what are we doing?" These pivotal industry dynamics are not just numbers on a spreadsheet but represent the livelihoods of creatives whose stories shape our culture.Authors need to participate actively in the marketing and publicity of their books, using strategies tailored to their specific audience.In the digital age, a robust social media presence is often considered non-negotiable. But where should authors concentrate their efforts? Schmidt advocates for targeted strategies—"find where your audience lives when they're not reading books"—and identifies threads and Instagram as effective platforms. However, she aptly recognizes that "every author should do" does not mean straitjacketing all writers into a one-size-fits-all approach. Instead, authors need to be authentic, engage with their readers, and leverage digital surrogates when necessary to carry their message.Schmidt's distinction between pitch-focused publicity versus sales-driven strategies underscores the complexity of book marketing in the current landscape. "I am the publicist who thinks about how are we going to sell the book?" she poses, aligning author success with commercial viability and practical application.Memoir faces challenges due to market oversaturation and authors should consider additional angles to be sellable.The realm of memoir publishing is undergoing profound change, leaving many authors pondering the fate of their personal stories. With the market oversaturated by similar stories, distinguishing a memoir requires more than just a riveting life story—it requires a unique angle or an additional layer of value such as the 'Memoir Plus' concept.Schmidt pushes authors to grapple with the real question: "is it a book or is it an essay?" This discernment is crucial in a world where the distinction between public sharing and a publishable memoir is increasingly blurred by the constancy of social media narratives. The trend now demands memoirists to consider if their life narratives are enough to stand alone as books or if they are better shared in smaller, perhaps digital, formats."Know who your audience is. Be very specific about that because, again, your book is not for everyone."Writing and sharing personal stories can connect with audiences deeply, but authors should thoughtfully consider the platform and format.In a moment of vulnerability, Schmidt shares her battles with depression, shaping a compelling narrative of resilience. This particular insight is significant not only for its ...
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    34 m