A few years ago, a client came to me with an idea for a nonfiction book. She was ready to write a draft and send it to a publishing house. What she didn’t realize was that she was working a few steps ahead.

Thankfully, we met early enough in the process that I was able to fill her in on the steps she’d need to take to pursue traditional publishing—allowing her to sidestep a lot of mistakes that would have slowed her down. 

Even though she didn’t need to write the entire manuscript before taking her next steps, her instinct to do so was to be commended. After all, how was she supposed to know about the ins and outs of publishing  without any prior experience?

Is it possible you’re also making one (or more) of the biggest mistakes nonfiction writers make—simply because you don’t know what you don’t know? 

Let’s explore—and learn how to avoid—the common mistakes writers make as they develop and complete their first nonfiction book.

A common mistake nonfiction authors make is attempting to write their book without a clear roadmap or structure.

Often, within the first chapter or so, they realize the magnitude of the project ahead and overwhelm settles in—derailing their initial excitement. 

Without a defined plan or structure in place, ideas tend to sprawl and lack cohesion. The missing element? A book proposal—a necessary business document used in traditional publishing. For you and me, it serves as a plan to make your nonfiction book a reality. 

In a book proposal, writers define a clear thesis statement and outline the central argument that will be supported throughout the book. Writers outline the book chapter by chapter, creating a framework that ensures they’re crafting a message they want to share with their ideal reader.

A book proposal also includes key elements that force you to think through details, such as the book’s purpose, its special features, and its ideal reader, which add to the plan and guide your research and writing.

Writing without a plan is the first big mistake…and creating a plan is how to solve it. 

Another mistake writers make is writing before determining the publishing path they want to take. Before developing your manuscript, be sure to pause and consider if you plan to pursue traditional publishing or plan to self-publish. 

If you know you want to go the traditional path, then you need a book proposal, and that proposal will include sample chapters—typically about three for a first-time author. These chapters will serve as prototypes, guiding the direction and flow of content for the entire book. While not all of the subsequent chapters need to mirror the initial ones you turn in with your book proposal, they still set the foundation for the rest of the manuscript.  

If self-publishing is your goal, then you will need to fully complete the manuscript. But that doesn’t mean you shouldn’t consider creating a book proposal. Self-published authors often find it useful to work through parts of the book proposal, such as categories your book will fall into, which you’ll need for the back cover and in your Amazon or online listing.

For memoir, specifically, you’ll also need a completed manuscript and a complete book proposal to submit to publishers with your own unique storyline and viewpoint. 

So, what publishing path do you hope to pursue? Be sure to consider the right path for your book before diving too deep into the process of writing.

Overthinking a book to the point of paralysis is another common problem I see with writers. Some fear that they’re not going to be able to fit everything they want to say in their book. Other writers fear that their work has already been said by somebody else and there’s no reason to write their book. Either situation can shut a writer down before they even begin.

If you find yourself here, go back to the first “mistake” and start crafting a plan. Create a framework for your book that addresses your reader’s felt needs and offers them the transformation they seek. 

Once you’ve done the hard work of creating a book proposal—determining your book’s purpose and how it will serve your readers—the actual writing of the book won’t feel all that complicated. Mapping out a book is like outlining and sets you up for success when you sit down to write chapters.

The next hurdle is deciding how each chapter will flow. You could start each chapter with a compelling story or offer an anecdote as an effective way to engage readers. Stories are a powerful way to connect with your reader.

In the paragraphs and pages that follow, you’ll support your claim or main purpose of the chapter through sub-ideas or topics. These supporting ideas and examples all are meant to help the reader understand the main message or big idea you are trying to convey. And then you’ll round it all out with a conclusion that ties it all together.

With a structure to follow as you craft your manuscript, you’ll avoid the pitfall of overthinking and instead find words flowing on the page.

I see it all too often: writers wait too long to ask for help. First-time authors often work in a silo, not realizing their entire book doesn’t need to be written all alone.

Take inspiration from Brené Brown, who shared her experience of writing her first book in an episode of Magic Lessons with Elizabeth Gilbert. For her first book, Brené didn’t isolate herself but instead gathered her team at a lake house. She taught the content of the book while incorporating their feedback and insights. This collaborative approach allowed her team to identify areas where her explanations fell short or where certain stories didn’t resonate, enabling her to refine her manuscript.1

In short, we write better together.

You don’t have to write alone. Be sure to seek support and input early in the writing process. Talk through your ideas with a friend. Find beta readers. Build a team around you. By involving others you will not only find more enjoyment in the process, but you’ll be much more satisfied with the end result. 

Do you find yourself making any one (or more) of these common mistakes nonfiction writers make when writing their first book? Are you feeling a little stuck? You don’t have to let those mistakes hold you back from writing your nonfiction book.

You simply need to make a plan to move forward and do the work. 

If a plan feels like a constraint to you, know that your manuscript will evolve as you move through revisions. You can adjust your plan as new information comes across your desk. You can insert new quotes or change the wording of a chapter’s claim to reflect what you learn along the way.

That client I mentioned? I sent her a webinar about book proposals that helped her understand the importance of that document and how the traditional publishing industry uses it in the decision-making process. 

She watched it, and we ended up working together on her book proposal. She developed a strong idea that proved to “have legs,” as they say, and she landed a contract with an agent and a publisher. 

It all started with a plan. You can avoid all of these mistakes with your own nonfiction book project if you have a plan too.

FREE ON-DEMAND WEBINAR

If you have a non-fiction book inside you, the first step is to write a book proposal. In this training, I’m revealing what it takes to create this essential document.

✅ why you need a book proposal
✅ what a book proposal does for your book
✅ the three things a publisher is looking for
✅ how to start developing your own proposal!

Somewhere along the way, you stopped writing. 

Life got in the way. 

You lost your confidence. You ran out of time. You ran out of ideas. You hit a huge block you can’t get past.

Maybe you thought writing belonged to younger-you, when the stakes were lower and you took more risks.

For one reason or another, the words stopped flowing. You set aside your pen. You stopped calling yourself a writer. You scribble in a journal now and then, but nothing beyond that.

This happens.

One day, you’re an unstoppable force—a creativity marvel, spinning out stories like a professional word-weaver. The next, you’re staring at a blank page, feeling the weight of fear, doubt, and a lack of motivation.

It doesn’t help that the world seems to conspire against you. Every interruption, every demand on your time, feels like you’re yanked away from your true calling. You wonder if that original spark is gone for good, snuffed out.

I’ve been there. When my dad needed loads of caregiving attention, my mind didn’t have space to think creative thoughts, and I had almost no time to sit down and write. I was sitting down for “care meetings,” driving him to urologist appointments, tracking down fax machines to send documents to insurance companies, and dealing with the emotional strain of his increasing dementia and its unpredictable fury.

Overwhelmed by the responsibilities and stress, I put all but essential tasks on pause during that era.

The few words I eked out felt forced. The spark was gone.

Guess what?

Every writer hits this wall at some point. Some swear they don’t, but I would bet my favorite pen that every writer faces moments—sometimes long stretches—when the words just don’t come.

If that’s happening to you, don’t see it as a sign that you’re not cut out for this, or that you’ve lost your gift. It proves you’re in good company—it’s a sign you’re human.

Indeed, you’re a real writer.

Because you’re a writer, let’s figure out how to get those words in motion again.

Even during the intense caregiving days, I could squeeze in tiny pockets for my work—windows of opportunity between appointments or before bed. It wasn’t much, but it was something. You can write, too. Even a few minutes in a notebook or your phone’s Notes app is a start. Get going by getting something down.

Grab this fillable workbook for ideas to make the most of every writing opportunity. You’ll get:

You may have a deadline staring you down or a deep desire to write your memoir. But if your writing’s at a standstill, let yourself write anything—your thoughts, a memory, a description of your surroundings. You need to invite your mind back to the page, so don’t add pressure by forcing it to perform an Act of Great Writing. Write a card to a friend or a simple update on social media.

Let go of the need for your writing to be perfect. Produce something purposefully imperfect if you need to, even sloppy. It’s more important to reignite the habit than to stress out trying to write typo-free text without a single sentence fragment. Sneak past your internal Grammar Guard who threatens to bludgeon you with the Chicago Manual of Style. Heck, write sentence fragments on purpose. Slip one in to free you up. You’ll feel like a rebel, which might produce the energy you need to fuel your creative fire.

Reconnect with why you started writing in the first place. What drew you to this craft? What did it give you that nothing else could? Tap into that original passion, and let it guide you back to the page.

If your circumstances don’t allow time or space for you to sit down at a keyboard and type, speak your ideas into a voice recording app. Have the audio file transcribed and voila! You’ve got a draft. It’s a way to get your ideas out, even within logistical limitations.

Stop beating yourself up. When we’re kind to ourselves, we acknowledge our humanity, and open ourselves up to return to embrace the writer we’ve been smacking down. Sarah Severson writing for ​Rewired Dynamics​ explains:

“Self-compassion encourages us to explore without the fear of failure. This freedom to experiment fosters creativity, leading to innovative problem-solving and increased productivity.”1

In other words, with self-compassion and kindness instead of self-loathing and criticism, we’re far more likely to emerge creative and productive.

Write what you can and know that the creative spark—the energy that drives us to the page—ebbs and flows.

Sometimes we simply sit and do the work, less inspired but willing to try. Keep showing up; as words spill onto the page, even a few lines at a time, believe and trust that more inspired words will return in abundance.

When did you last feel this way—stuck, without words, creatively blocked?

What pulled you back?

I hope you’re overflowing with ideas, your pen unable to keep up. But if you’re stuck, pick up your pen. Write one sentence.

You’re still a writer, and your story isn’t over.

YPM is a warm and welcoming membership community committed to creative, meaningful ways we can grow our platform and reach readers—check us out!

Is Substack the best platform for writers? Is it right for you?

In this interview, publishing expert Jane Friedman explores Substack’s social media-like features, blogging-like functionality, podcast-host possibilities…and its implications for writers. From using Substack “Notes” to community cross-promotion, it’s an ecosystem worth understanding.

Substack is more than just newsletters—it’s a blog, social media, podcast host, and email marketing tool all-in-one platform. Perfect for beginners, but should we trust it with all of our content?

Learn the pros and cons of Substack on our latest episode of the “Ann Kroeker, Writing Coach” podcast after skimming the show notes and summary below.

But first…

Jane Friedman has 25 years of experience in book publishing, with expertise in business strategy for authors and publishers. She’s the co-founder and editor of The Hot Sheet, a paid newsletter about the book publishing industry with over 2,500 subscribers, and has previously worked for Writer’s Digest and the Virginia Quarterly Review. In 2023, Jane was awarded Publishing Commentator of the Year by Digital Book World.

Jane’s website, janefriedman.com, offers a wealth of resources for authors. She writes many of the articles herself and also features guest writers who are experts in various aspects of writing and publishing. You may have followed some of the many links I’ve shared in my own newsletter, as Jane’s content and curation of expert input consistently provides top-notch education and encouragement for writers across genres.

Jane’s most recent book is The Business of Being a Writer (sponsored post/affiliate link to Amazon) (University of Chicago Press), which received a starred review from Library Journal. And a new edition is to be released in Spring 2025.

Jane is everywhere. She’s been in The New York Times, The Atlantic, CNN, Wired, BBC, The Guardian, CBC, The Washington Post, Fox News, USA Today, and NPR.

And now she’s here on the “Ann Kroeker, Writing Coach” podcast, discussing Substack for writers.

Ann Kroeker [00:00:00]:
I’m Ann Kroeker, writing coach. If you’re tuning in for the first time, welcome. If you’re a regular, welcome back. Today, you’ve joined hundreds of established and emerging writers who are discovering ways to reach their writing goals and have fun by being more curious, creative, and productive. And this is the Ann Kroeker Writing Coach Podcast. Today, I have publishing expert Jane Friedman on the show. If you don’t know Jane yet, you should and you will. Let me tell you just a little bit about her.

Ann Kroeker [00:00:28]:
Jane has 25 years of experience in book publishing. She’s the co founder and editor of The Hot Sheet. It’s a paid newsletter about the book publishing industry with over 2,500 subscribers, myself included. She has previously worked for Writer’s Digest and Virginia Quarterly Review. In 2023, Jane was awarded publishing commentator of the year by Digital Book World. Her book, The Business of Being a Writer, received a starred review from Library Journal and is coming up with a new updated edition in 2025. And Jane is everywhere. She’s often a keynote speaker at writing conferences.

Ann Kroeker [00:01:03]:
She’s been in the Atlantic, BBC, NPR. I mean, you name it. She’s probably been featured there in some way. And now she’s featured right here on the Ann Kroeker Writing Coach podcast. So let’s welcome her. Well, welcome Jane Friedman. It’s good to have you on the show.

Jane Friedman [00:01:17]:
Thank you, Ann.

Ann Kroeker [00:01:18]:
So when I asked you to be on the show, you you right away said sure, which was really refreshing and fun. And then I asked you, what would you like to discuss that you haven’t been able to explore as much as you’d like on other events, podcasts, speaking engagements, whatever. And right away, you said, sub stack. And I am curious why that came to mind so quickly and then why that was top of mind.

Jane Friedman [00:01:40]:
Well, it’s something that writers ask me about on a almost daily basis. And it’s a really complicated issue. And so it’s hard to give a single answer without getting into really like a 30-minute discussion about that writer’s background, their goals, you know, it’s it’s and and I too feel torn personally as someone who’s really invested in newsletters as a format, both to deliver great writing and content and as a marketing tool. Like, even I don’t use Substack, after developing a really robust list. I don’t feel like I need to, but I’m still drawn to it, because it does have this marketing power and networking power associated with it.

I think the confusing thing for so many folks is that you can still be active on Substack, and I am, without sending your newsletter through it. So in any event, there are all of these different layers to it. And oh, and then just to throw another variable in there, I don’t think Substack is always operating in a way that I think is what? Well, let’s put it this way.

Jane Friedman [00:02:53]:
They’re funded by venture capital. They’re gonna have to turn a profit at some point. And so there’s I have, you know, I never quite trust companies that aren’t yet turning a profit, which may be unfair, but there it is.

Ann Kroeker [00:03:06]:
Well and that’s why we’re having this conversation so that we can inform people who tune in. We can’t personalize it. Like you said, we can’t have that 30-minute conversation with an individual, but hopefully, we’ll give them enough information. They can make some decisions for themselves. So I’m all in as well on this conversation. And in full disclosure, I have a substack. Now I have kept just sort of like you mentioned, and I think we need to actually sort of define and explain it next. But, I do have one because I wanted to understand it.

Ann Kroeker [00:03:33]:
Like you, I was attracted to the concept, like, what is this thing and how is it working? And, oh, that’s kind of neat. So I decided I needed enough difference between my coaching emails, which loosely could be categorized as marketing, but I don’t think of it that way. These are the coaching emails that go out on a more or less regular basis. The attempt is every other week. But then I I thought I need something different. So I called it story hatchery, but I did get my name, which is something I always recommend to people when something new comes along, grab your name. So I have ankroeker.substack.com.

Ann Kroeker [00:04:04]:
So I got my name, sat on it for a long time, then decided I’m gonna do something called Story Hatchery, and it’ll be more of my personal stories still with a writing angle, but that’s what I’m doing over there. So and what I mean by full disclosure is I’m there, and I kinda like it. Mhmm. And so I bet people who I have people who don’t have any idea what Substack is, so they must not even subscribe to Substack newsletters, or they don’t realize that they are. So how about we take a minute, and you do, your best to try to describe all the different moving parts of Substack and how what it is it?

Jane Friedman [00:04:35]:
What is it? So when it first launched, and this is, I don’t know, in the mid 2010s, I believe, maybe 2017 when it first started really people started noticing it as a platform. I feel like it was positioning itself primarily as this is a great way to do a paid newsletter. Now it’s important to understand that at the time, this was kind of a novel idea. I hate to say novel idea because I was running a paid newsletter before Substack was established. There are lots of paid newsletters that have been out there for many years, but you really had to be technically savvy. You had to know e-commerce. You had to be able to identify the right subscription management system. And that’s just above and beyond having a decent website usually as a base of operation.

Jane Friedman [00:05:26]:
So it was no small thing to go into the paid newsletter environment, until Substack came along and really automated every part of the process in a way that was a writer with absolutely no technical skill could set one up in less than an hour. So it’s hard to overstate just how kind of revolutionizing that part of it was. And when I saw it, you know, after I already had established my paid newsletter, I mean, I did think, “Why weren’t you here when I began my journey? It would have been so much easier.”

But by that time once you do all the work and you get invested in your own systems you know it’s some people have switched over but I’ve been pretty stubborn and have not. So that’s where it started. But as time progressed, you know, it I think they I’m not gonna say they they’ve pivoted, but they’ve started adding in a lot of functionality that I would say is more geared towards the first time writer or a creator, if we want to use that word, who may or may not understand what it takes to actually have a successful paid subscription. And there’s a lot of people doing stuff on there that’s really strictly for free.

Jane Friedman [00:06:40]:
They may or may not have the intention to charge. So I would I dare say that there are far more like free newsletter sorts of efforts on Substack at this point than paid, but that there’s kind of like this carrot that’s always being dangled. Oh, you could earn money if only you followed this certain formula or you were able to do XYZ and Substack is of course encouraging that because that’s how they make money is if you charge, because you’re paying 0 to Substack, you, you pay them a percentage of whatever your readers pay.

As if that weren’t enough, you now have Substack—I’m gonna say this is a couple years ago launching like us or maybe it was like a year and a half. In any event—a social media network on top of it. Basically a Twitter clone as Twitter started to degrade for reasons we won’t go into. And people were looking for other options.

Jane Friedman [00:07:36]:
You know, I think Substack rightly saw an opportunity and they created the social media layer. And so people can use that even if they’re not sending a newsletter. You can have your Substack profile where it reveals what Substack you’re reading.

And I didn’t even mention you can comment on Substack. It’s really like a blogging technology in addition to a newsletter technology, because every issue you send ends up being put on your Substack profile or website, which can be read by the public. Even if they don’t subscribe, even if they don’t give you their email address, assuming you allow for that (you have the toggles, you can control it however you wish).

And then parallel to that social network being put in place, they also really amped up the recommendation factor—people recommending each other’s newsletters. And so what people quickly realized is boy, it’s really hard to get growth for an email newsletter in isolation from every other newsletter or creator out there, which is how it worked prior to Substack, you know? Your newsletter issues really aren’t discoverable via Google unless you’re doing something special. But that’s not the case on Substack.

Jane Friedman [00:08:51]:
So you have this really interesting dynamic where Substack is both giving you the technology, and they wanna say very much they’re a technology company. But they’re also clearly kind of a social media or marketing platform as well. And they do have ways to make writers more visible on their platform. And they are making decisions that would be comparable to the decisions that a social media company might make, like the algorithms and the feeds and, and all the rest of it. Okay. I should pause there and we can explore any other part of the system.

Ann Kroeker [00:09:29]:
Well, and I think you bring out all these different things where it makes it really it is hard to describe what it is because it has so many pieces to it, so many aspects to it. You mentioned how it’s almost like a website, but with the blogging functionality, with that commenting, and people are actually commenting, which they aren’t so much on traditional blog posts. You’ve got the notes, which is like Twitter. You’ve got, then the ability to send that out to subscribers into their inbox. So in that sense, it’s sort of like email marketing, and then you’ve got the you didn’t mention podcasting or audio. You know, that’s another thing they started doing, and and I have some people who are actually starting their podcast, hosting it there, a public-facing podcast, and then they get the subscribers.

Jane Friedman [00:10:11]:
You know,

Ann Kroeker [00:10:11]:
they get some of at least some of the emails. As you point out, there are some that will listen publicly and never come over, but some we’ll get some of them as subscribers. So it’s—it is a lot. It’s very alluring, but also very confusing because now I’ve got people…So I have writing clients who say, “Well, why do I need something like ConvertKit or mail MailerLite now, if I can send my email?”

Well, it depends on how you wanna market to people or send emails. Do you do you wanna be clear about who gets what? Then it may be a little tricky, and they say, why can’t I connect the 2? And then I’m like, well, because if they unsubscribe over here, you need to have a system for Right. Unsubscribing them over there. So it does get a little complicated with all those moving parts.

Ann Kroeker [00:10:45]:
That said, I have some people who they just wanted a quick get up and writing. And I thought, you know, you might wanna just check out Substack to do it for free, like you pointed out there, not necessarily to to pay. And it allowed them to get up and running right away because it because it is so simple, which is a complaint a lot of people have is that it’s not got very many, design options, for example. Right. But they did get up and running, and they’re writing. And they’re getting some readers. I have one person who started from scratch and has one of her posts, which is that the posting option you mentioned, one of those went viral, like, really viral. She used to have, like, 2 or no reactions, and then she had, like, over 2,000.

Ann Kroeker [00:11:23]:
And a lot of those people then became subscribers. And so she immediately was able to grow that readership. So, you know, it has some possibilities and potential there via hit the right spots at the right time. And you’re in that ecosystem of Substack. There can be some advantages, but, I know, you know, you’ve already revealed a little bit of some of the dangers and concerns you have. Yeah.

So I guess it might be interesting to talk about maybe some use cases you think are it’s particularly good for and then some things to watch out for. So maybe let’s look at pros and cons, you know, good things and bad things, things you like Yeah.

Ann Kroeker [00:11:57]:
Warning signs Yeah. That kind of thing.

Jane Friedman [00:11:59]:
The ease of use and how I mean, for some people who feel like there are too many substacks, maybe they don’t like the ease of use and the fact that everyone now has the substack. But that really does help writers get over some initial hurdles.

And since I’m such a proponent of email as as a powerful way to communicate with readers, I like the idea that people can just get started easily without having to pay for, a more sophisticated service, at least in my estimation, If you’re doing marketing like a MailerLite or a MailerChimp or Mailchimp which can be intimidating to people and plus there’s often a cost associated with it unless you’re even the free plans I find they’re pretty undesirable because they don’t have functionality you probably really want if you’re serious about sending an email newsletter, rather than Substack, you get all the functionality no matter what.

So I do like it as a way as like, kind of like an easy, lightweight start for someone who’s beginning that journey, especially if if they don’t even have their own author website yet, even though I would encourage them to have one. Like, Substack can be a lightweight method to have that website because it allows you to add pages, but it doesn’t require you to know web design. Right? So and and, again, you’re not paying any money and it’s hard to beat the fact you’re not paying any money.

Jane Friedman [00:13:25]:
And I have seen people who have had what I would call, like, sporadic newsletters or maybe they just had they’ve been for some reason, it’s a weak effort and they’ve never really settled into it. And they’re paying to have this, like, a Mailchimp, which is quite expensive. They’re paying to send it, but they just don’t feel like their their stuff is being shared or it’s reaching a new audience. So those people in particular, I will see them migrate everything over to Substack and then take off in a way that they had not before.

So an example of this might be, Leigh Stein. Like I already knew who Leigh Stein was and I subscribed to her email newsletter. I think she was on Mailchimp. And then within the past year or so, she went entirely all in as far as I understand on Substack.

Jane Friedman [00:14:11]:
And just recently, she started charging. So I think that’s like a real a pretty clear example of how it’s worked out to someone’s benefit. And I doubt she has I think she has no doubt or regrets about making that switch. And I think she’s even talked about it, how much her growth accelerated once she went over to Substack.

But one of the reasons for that is there is a very active writing and publishing community there. There are other people who have influential substacks on writing and publishing, that talk about Leigh, whatever Leigh is writing, and they’ll share her latest issue, etcetera, etcetera. And so there’s just this great amplifying effect that takes place. It also helps that she’s really in the community.

Jane Friedman [00:14:54]:
There are people like who already know her name. So Yeah. So that’s an example of it working out well. And I think even though I used a writing and publishing industry example, it the same applies regardless. You know, it could be mental health. It could be inspirational, devotional sorts of material. It could be politics or Bitcoin or AI. You’ll see these little communities that have grown and all of the people who do the influential Substacks, they all know each other and and and cross promote and comment.

Jane Friedman [00:15:32]:
Now where I think it gets into trickier territory where it’s like, I don’t know if you would wanna put all your eggs in that Substack basket is if you have a fairly well established website, especially if you’ve got an active blog and you, let’s say, are trying to rank in Google search or organic search, you’re already ranking in Google search, and and you’re thinking about, well, maybe I’ll stop posting at my own website and instead post it on Substack, or I’ll try to do both.

Like, there are people who wanna, you know, have their cake and eat it too. And I think that’s, to me, usually the worst of both worlds because you’re splitting your traffic. You’re making you’re creating some confusion in my estimation about where you actually live and where you want people to go.

So I would say either you’re gonna build and invest in your foundation at your website, whatever that might be—usually it’s your author website. Or you’re gonna decide, “I’m gonna go the Substack path.”

Now there are some exceptions to this where maybe you have a very distinct project.

Jane Friedman [00:16:41]:
That maybe it’s clearly, you know, something that could stand alone and it’s okay maybe to silo it over in Substack and you can always cross reference the other stuff that you do at your main website. I don’t have a problem with that. But when people are, you know, double or double posting or doing an excerpt here, and I think that’s not ideal at all.

Ann Kroeker [00:17:02]:
So those who have shut down their websites and put every like you said, all the eggs in one basket, they moved over. They just shut down their website. I don’t know about podcasting, but I have I have friends who have done that. They’ve shut down everything, gone over to Substack. It’s all there. You would say, “Good luck with that”? Or what would you say to them?

Jane Friedman [00:17:20]:
Well, it depends on how strong that site was. Like, if it was always kind of a if it if you never got more than a 100 visits in a month, you’re probably gonna be very happy moving over to Substack. But for someone like me, you know, I get, you know, probably 6 figures a month in traffic and I’m, I’m not going to be doing anything that would harm that or devalue it or send some of its traffic over to Substack.

So instead, I use Substack for its marketing power. I use the Notes tool, which is the social media layer. I comment on other people’s substacks just as I would comment on other people’s blogs knowing that people will find me there.

Jane Friedman [00:18:04]:
And I do have, you know, kind of this I do have a Substack newsletter, but it is not something that I am active with. So, like, maybe every quarter I will post something and it’s of a more personal nature. It’s kind of it’s just discussing my career and like some of the qualms I have about my career. And it has nothing to do with what I normally post at my main website. And so if people discover that fine, they’re getting something that’s very real for me. That’s still kind of aligns with my brand. And if they’re really curious, they’re gonna end up at my website.

Ann Kroeker [00:18:36]:
Nice. Nice. I like that idea. That was exactly what I thought I needed something different enough that I didn’t feel like I had to cross well, the cross referencing is smart, but I didn’t have to keep putting the same content in more places. Right. Yeah. Okay. So you would say from an SEO perspective, meaning search engine results, that it would be unwise to paste the same content over in your Substack if it’s living at your website.

Jane Friedman [00:19:00]:
I think it’s unwise. You know? I mean, you would have to see what would happen to kinda test the theory, but usually, Substack, I would has a lot of authority in Google’s eyes. A domain authority. And so when people go searching for you or the key topics you write about. If they’re supposed to land at something you’ve written because they’re searching for something whether that’s your name your book whatever. It becomes more likely that Substack or something you’ve put on Substack will come up first because it has so much authority rather than your own website. And that just hurts my business heart.

Ann Kroeker [00:19:39]:
Is that fairly new that they that they have succeeded at kind of breaking the SEO codes? It seems like in the beginning when it was siloed off, whatever you put up on your own Substack, it wasn’t turning up. So is that fairly new?

Jane Friedman [00:19:52]:
I mean, I can turn up Substack posts myself with depending on the search. So it’s just there are lots of variables here, but I would I definitely think it’s something just as to satisfy your own curiosity even if you’re not trying to drive traffic to your own author website. If you have a Substack, do a search for your name and titles or some other things and see what comes up.

So in any event, I think the more harm just comes in splitting your traffic. And I think it creates confusion for people. If they see the same stuff in both places, they don’t know quite exactly what what are you doing in both places. So it’s I may be making too much of of this, but I I see people waffle, you know, and they they seem to lack the conviction of what they’re doing. And so they end up in this no man’s land.

Jane Friedman [00:20:43]:
And I would just say if you’re gonna use Substack for something, use it, but don’t devalue what you’re attempting to accomplish on your own website. And I think your own website shouldn’t be ignored in favor of feeding the Substack machine with everything at once, to become bigger and stronger.

Because, you know, I think what I’m worried about for folks is that in some years time, I don’t know if it’ll be suit very in the near future or the far future. But Substack’s profit motive, I think eventually wins out and they will have to make some changes that you might not like. So I don’t know what those changes will be. But it could involve charging for the service. It might mean inserting advertising. It might mean, not giving you the email addresses of your subscribers which are currently if you want to leave Substack you can take your subscribers with you based on email address and they will go.

Jane Friedman [00:21:42]:
But if people haven’t subscribed, of course, you can’t take them with you. And so if they change anything about that, then you’ve you have just lost a lot of time that you could have spent building on grounds you own outright. So I’m just always concerned about writers not being on, you know, I guess the rent the rented or the leased property where the terms can change.

Ann Kroeker [00:22:08]:
I agree. I encourage every writer to the extent they have the means to do so, to have a self-hosted website if they possibly can for that reason. You control it to some extent. I mean, I’ve had some technical glitches, but I’ve been able to resolve those, and it’s all under my under my roof, so to speak. But I do love what you said about using the functionality of Substack. So you you have a presence there. You’re using it by commenting and using the Notes feature. I think that’s a really smart use.

Ann Kroeker [00:22:37]:
I also you mentioned one thing that I thought I better tell anybody who has their Substack is maybe periodically on a regular basis, download those or upload the CSV, get the CSV files of all those email addresses in case that does happen, what you just said, where they say, you know what? We’re not gonna be able to let you have those anymore. That terrible.

Jane Friedman [00:22:56]:
Happen. I mean, it would be a PR nightmare for them. So I don’t expect that to happen anytime soon, but you just never know, like, these things get sold, they change hands, the new owners have different ideas. So it’s, I think, very hard to predict.

Ann Kroeker [00:23:11]:
Yeah. And speaking of PR nightmares, they did go through something more in January where there were was a little bit of a dust up, if not even a kerfuffle or something even worse. What how do you feel like we can talk about that? Yeah. And Yeah. Okay. So why don’t you describe what happened and what the fallout was and where they’re at now?

Jane Friedman [00:23:29]:
So I wanna say part of this was sparked maybe by a piece in The Atlantic or in a major media outlet. Someone was saying, hey hey, everyone. Did you know that there are neo Nazis who have Substacks and, you know, they’re they’re potentially earning money? Substack is profiting off of Neo Nazi newsletters. That was that was kind of like the headline message attached to that.

Now later on, many months down the line or maybe even more immediately, I don’t know, there were people who pushed back against that and said, okay, are they really earning money? Like, are these really successful Substacks? I’ve never seen these Substack. And then there were other people who were saying it’s unfair to call them Neo Nazis. Okay. But as soon as I think the the the bigger point was Substack likes to portray itself as a tech platform that does not make editorial decisions.

Jane Friedman [00:24:27]:
And more or less, everyone is welcome as long as you’re not doing something that’s blatantly illegal. They do have some policies against certain types of content. I don’t remember what the list is. And people were really pushing them to consider these specific, you know, Neo Nazi Substacks or whatever it was that was problematic about them, really pressuring Substack to put them under the policy that means they have to be kicked off.

Well, long story short, Substack, I think they may have purged a handful of accounts, but they didn’t like, they didn’t do what was publicly demanded of them. And there was an exodus of a number of sub stacks, some influential, some not influential. I think the biggest person I saw depart was Casey Newton of Platformer. So he left Substack and set up on, I believe, Ghost, which is truly a tech platform.

Jane Friedman [00:25:30]:
It would be comparable to like a WordPress. So just as a WordPress or a Ghost isn’t going to make editorial decisions about who uses their technology. Substack was trying to make the same argument, but really unsuccessfully I might add. Because they have all of these marketing tools and other and other factors where they stand to benefit and earn money by putting their finger on you know the scale of who gets seen and and if if if the paid newsletters get more seen and get more subscribers, then they they get a cut of that.

So eventually, the controversy died down. I’m not gonna say it’s gone, but I think everyone who was gonna leave has probably left. Substack didn’t really change their policy meaningfully as far as I can tell. And everyone else just kinda shrugged their shoulders and and carried on.

Jane Friedman [00:26:28]:
I don’t really I personally, like, I didn’t leave Substack. I’m still using it. I don’t have a problem with their policies as they are written. But I do think it’s just disingenuous for them to say we’re a tech company and such decision decisions do not concern us. I thought that was really, really poor position to take.

Ann Kroeker [00:26:52]:
So it leaves people with this ethical decision they have to decide for themselves, or they’re on Substack. Do I continue when what I’ve been told is that they’re potentially profiting from Right. The the both the people who have those websites or those Substacks, excuse me, they are profiting and, you know, in association with that, then Substack itself and those owners are profiting as well. So Right. Yes. And then when you land on it and you say, like, I’m okay with that, you stay or you look elsewhere to something that you feel like does uphold your your ethical stance.

Jane Friedman [00:27:27]:
Right.

Ann Kroeker [00:27:27]:
That’s hard to do because what you’re dealing with our companies, like, WordPress probably has really offensive people building their websites there. We don’t even know it. And so does that mean I’d stop my WordPress? This it’s a really tricky question. You could really Right. Go you know, if you go to the extreme, like, oh, do do we can we be anywhere? Can we be on any social media platform? Can we be…

Jane Friedman [00:27:47]:
Exactly. I would say that if you have that problem with Substack, if if you’re not gonna have a double standard, you need to ask yourself, am I gonna apply those same standards to x, to Instagram, to TikTok, to every service I use? And I think, you know, I may I know what my decision is. I’m going to use the tools that help me and unless sometimes there is a line that’s crossed and I can no longer be a part of that. I made that decision with that. So there was a point where I was like I’m out. I can’t do it anymore. So everyone’s decisions are gonna be, I think, quite personal. And so I never I do not judge.

Jane Friedman [00:28:23]:
We all have to decide where the line is drawn.

Ann Kroeker [00:28:25]:
I agree. I agree. And but I think it it actually the whole conversation that was happening around that. And in my community, I have a writing community as well that focuses focuses on platforms. So that’s why this is a big topic in our space. And we were all wrestling with it too, and I think it’s good to wrestle with it. Yeah. I think it’s good to ask those questions.

Ann Kroeker [00:28:42]:
It is. And rather than I tend to dive in and then the figure figure things out. I don’t have regrets of doing that, but I do enjoy exploring things. And maybe I need to grab my domain name long enough to make sure I get my name, and then and then do a little bit more deep dive before I get all in with anything. So it it’s it’s worth doing your research, I guess. Do your due diligence and then make your decision, and and and you can always change. You can always decide otherwise. Although moving every which way is gonna be time consuming every time you switch to from a major platform to another, especially if you’ve gone all in with Substack versus what you’re doing where you’re just in there using it like social media.

Ann Kroeker [00:29:21]:
Do you feel like that decision I I don’t wanna spend a huge amount of time here, but do you feel like that decision that they made and the pressure they were getting further confirms that maybe at the heart of Substack, they are a social media platform because they could monitor it, or do you feel like that’s true of any anything even subs even WordPress?

Jane Friedman [00:29:39]:
I think WordPress and Ghost are are different from Substack. I don’t feel like Substack is in their category even though they say that they are. Substack makes has made I don’t know if they’re actively making, but they’ve they’ve made investments in specific people who are on that platform. You know, they’ve had grants or they’ve provided services. I think they recently tried to bring some TikTok folks on to get them to use and I there might have been incentives there. So I mean, they’re definitely they’ve got their hand in the mix, the editorial mix. And if certainly they also have, like, editorial their own editorial newsletters where they’re highlighting very specific people on the platform. So they it’s and and they themselves come out with their, you know, with their own opinions and things.

Jane Friedman [00:30:33]:
So they’re very active in the community themselves, I think, for the most part. So if you go to Ghost or or WordPress, you just don’t see that. You know? That’s it’s just like you don’t see it with, like, your hosting company or, you know, they it usually, they’re not engaging with their users in that way.

Ann Kroeker [00:30:55]:
So yeah. Yeah. So that and that’s where I think it I I appreciate all the early attempt to describe and define it because is it at its heart like a website hosting company, or is it more, at its heart, an email service provider? Or or is it more, at its heart, a social media, system and so on? It’s like, it is really hard to land on what it’s most like. Do you feel like there’s one thing it’s more most like this?

Jane Friedman [00:31:20]:
You know, there was this horrible term that was coined maybe 10 years ago called a platisher.

Ann Kroeker [00:31:27]:
Oh, I’ve never heard that.

Jane Friedman [00:31:29]:
So it’s a mash up of the word platform and publisher. It’s kind of like that. So it’s, you know, it’s a tech platform, but it is also in some ways a publisher deciding where it’s going to put some more investment or who it’s trying to attract and supporting certain people. In some ways, it’s a little bit like Medium used to be where anyone could go and contribute to Medium. And I think that’s still the case. But they were they were investing in certain publications there and making payouts. And so obviously funding what they thought would help the whole environment succeed. So it’s it’s not like Substack is investing in just the technology under it.

Jane Friedman [00:32:12]:
They are investing in people. So I think that’s the difference.

Ann Kroeker [00:32:17]:
That is very different. Yes. So, do you do you have any subtext that you feel like are your favorites that you’d like to share? That’d be kind of fun.

Jane Friedman [00:32:26]:
Oh, there’s so many. Now I subscribe to a lot of, writing and publishing industry subtext because that’s my job. So in that area, you know, Courtney Maums’ “Before and After the Book Deal” is a great example of a paid substack that I think is worth the money to many, many writers. A there’s a health substack I subscribed to called “The Vajenda” by a book author, Dr. Jen Gunter, who is always trying to battle misinformation about women’s health in particular online. That’s a neverending job. I subscribe to a range of AI newsletters, some against and some for because I like to get the whole the the big picture of that. For those who are interested in the copyright implications, there’s a good one called “AI and Copyright” by Peter Schoppert.

Jane Friedman [00:33:17]:
He’s always quite, smart on those issues. Since I’m on the nonfiction journalistic side of the writing and publishing, like, in my personal interests, I subscribe to a newsletter by Helen Lewis. She is British, but she writes for The Atlantic. It’s called “The Bluestocking.” And it’s a really great example of a behind the scenes newsletter for anyone who’s actively writing and publishing elsewhere. I think here’s an example of how to use Substack to supplement what you’re doing in kind of your mainstream, whatever it is, whether it’s your own blog or pieces that you’re placing out in the world. You know, the funny thing is 2 of my favorite newsletters left Substack. One of them is Tangle.

Jane Friedman [00:34:05]:
This is a politics newsletter that looks at the 360 degree view of hot button issues. They started on Substack, but they moved over to Ghost. So you can find them at retangle.com. I actually did an interview with the founder, Isaac Saul, because I just think it’s super fascinating how they’ve managed to build a really robust newsletter, that gets a lot of donations. Most of the content is free. And so you can get most of what you want, I think, out of their reporting without paying a dime, yet they grow they’re they’ve been growing for years. And then another one would be Benedict Evans for his tech analysis. And he, he uses actually one of the email traditional emails, newsletter providers.

Jane Friedman [00:34:50]:
I think it might be Mailchimp. And he obviously has that hooked up to a subscription management service or a payment service. I think he uses one of the WordPress plugins that might be Memberful, for example. So for those who are trying to build their own solution, they usually choose a WordPress plugin or a subscription, facilitator like Memberful, and then they hook that up to their email newsletter service provider, in his case, Mailchimp.

Ann Kroeker [00:35:18]:
That is so complicated. Like you said, when you set it all up yourself on the back end for The Hot Sheet, and then, you’re like, where were where were you when I needed you? So I’m stuck that like, that getting the plugins and all of that to play nice together sounds like a lot. But thank you for those recommendations. I was thinking of a couple of paid the the I pay very little, and I’d like to talk about that too. Just the cost. Like, the over like, if everybody charges even just $5 or $8 level, eventually, people max out on what they can afford for all the people they might wanna learn from. So Yes. We can talk about that in just a second. But given that, the 2 paid that I experimented with was George Saunders. He had one where he was teaching writing technique, and I wanted to see what he was doing.

Ann Kroeker [00:35:59]:
And he built a whole little, like, class you could sign up for, and he would he would teach. He would look at mentor texts and then pick them apart and do some close readings and discussions, and people were very active in the comments. That was an interesting investment for about the the year that I was in there. And then writing in the dark, Jeanette Ouellette, she has a nice one too. I like hers, and she’s very instructive and models it well with grace and, very encouraging in the way that she goes about her Substack. So but they were paid, and they’re they’re I probably the only 2 paid ones I ever paid for because so many others were giving away enough for free that it was motivating to explore them. And I think you get into that a lot where in in the article you wrote an article in March I’ll link to that that was sort of like it’s something like it’s it’s terrible and wonderful or something like that as the title. I’ll link to it.

Ann Kroeker [00:36:48]:
But, you point out that, really, we can use whatever email service provider we want to use to to deliver free newsletters because most of us are not you are, but, like, I’m not famous famous enough or weighty enough to be somebody that probably people would wanna be paying enough for to make it worth it. I would rather have more subscribers to be able to pour into those people and tell them about something that’s coming up. And if I have more people on that list who can learn about the thing that’s coming up, then I might be able to let them know about a paid thing and make some money that way versus trying to make money from the product itself.

Jane Friedman [00:37:25]:
Right.

Ann Kroeker [00:37:26]:
And so that’s challenged because then those who want to try to do that, and they start charging means Mhmm. Very often, I’m just like, yeah. I don’t know you enough. I don’t think I’m gonna do that because eventually you hit your budget. Do you mind to talk about that a little bit?

Jane Friedman [00:37:41]:
Yeah. So I subscribe to more than a 100 substacks, and I only have pulled out money for 4 of them. So that is a very and I’m someone who loves newsletters, but there’s a limit. There is a limit. And I’m not alone in this. You have to be so motivated to get that content to pay. So The Vajenda, about women’s health, that’s one that I do pay for because I feel like this is a doctor who is actually keeping up with the latest research, in women’s health. And I don’t think I’m gonna get that really anywhere else, not even from my own doctor.

Jane Friedman [00:38:25]:
And I and she just has this sort of series information too that was behind a paywall that immediately when you subscribe you get that big hit of, okay, here’s all the information I really need to access before I even get, you know, the future newsletters. So there has to be that that’s why I think so many people fail at getting people to pay is that they don’t have that must have content. The sort of content, you know, that you would need if you were trying to get an advance from a book publisher, you know, that level of of benefit.

So something I often tell people rather than if like first of all like please go read what I wrote about the value of free newsletters in that post the terrible and wonderful post because I think people get so fixated on charging they forget how much money you stand to earn over a career just by having a free email newsletter list. I mean that is the easiest way to make money is by not charging for it. Paradoxically.

Ann Kroeker [00:39:32]:
Yes counterintuitive but so true.

Jane Friedman [00:39:35]:
So once you start charging I would say most writers should really be looking at more of a patronage model rather than a subscriber model. And the difference is with the subscriber model you are telling people this is a transaction I am going to deliver x amount of value for x amount of dollars on a consistent basis. And we agree that if my value is not there you are going to leave. It’s the same, you know, transaction we conduct when we subscribe to a magazine, like a print magazine or, or Netflix or any sort of entertainment, or information that we want in our lives on a regular basis. Most writers are not going to be able to meet the transactional value, or it’s going to be a very tiny percentage of those you reach.

The patronage model is telling people, “Look, I think you might want to support my work. Can you support my work? Through this tip or through this donation, this one time, can you be a founding member and then you will get everything for free in perpetuity?” Some people do that, which I think is a great idea.

Jane Friedman [00:40:41]:
And so I think one of the problems is just the recurring nature of the subscription fee. It produces a lot of churn and you have to find a way to replace those people. And that you know that’s a business that’s been around for a 100 years. There are principles drive it. And I don’t know that writers really want to be distracted by learning what goes into running a successful subscription business.

Whereas I think patronage is a more accessible way to think about it. Come and support my work because it helps me do x y z. So it would be the same sort of messaging that you would use like in a Kickstarter or crowdfunding campaign or if you were running a Patreon.

Jane Friedman [00:41:19]:
So that’s something to consider. An example that I’ve sometimes used of this model is John Warner. He’s an author I worked with for many years. He now has a Substack newsletter that’s totally free. If you end up paying, you don’t really get anything more than what he gives everyone for free, except he’ll do a recommended reading list for you based on, like, stuff you like or don’t like. That’s it.

Ann Kroeker [00:41:44]:
Nice. Thank you for that. And I’ll link to that. I’ll find him, and I’ll link to it because I think it’s nice to see examples of what you’re talking about. And in in in that vein, I don’t wanna put you on the spot, but can you come up with a decision tree of sorts? Like, if somebody is trying to make a decision, I would say personally, go get your name. Like I said earlier, I feel so passionate about that just because I didn’t get my name on Pinterest. And I’m kinda sore about it. That other Ann Kroeker out there.

Ann Kroeker [00:42:09]:
Nothing personal, but I really wish I could have that on Pinterest. Anyway, I just I just feel like if go ahead and get it, reserve it, and sit on it, and then decide if you wanna do anything with it later. Aside from that, how would anybody decide? Like, yes. It’s a good idea for me. I think you’ve touched on it, but I’m wondering if there’s a clear path for people.

Jane Friedman [00:42:27]:
Yes. I would say if the idea of if you don’t currently blog and or have an email newsletter, and the idea is just intrinsically exciting to you. Like you have some enthusiasm, and you’re not sitting here wondering, what would I write about? I don’t know. Like if you’re already like, you’re just kind of shrugging at what in the world you would do with Substack, I would say, why don’t you save it for some other time when you have a fire in you and you know exactly what you’re gonna write about. Because you need that fire to to sustain the effort through the amount of time it will take for anyone to discover that you’re doing it in the first place. So so that’s that’s kind of the first criteria.

So are you in intrinsically interest in this, and you’re not already doing it and you’re like, Substack inspires me and I’m reading some substacks that make me feel like I have something to contribute to the conversation or to the community. And then I would say if you’re already reading a lot of substacks, you’re just gonna add fuel to the fire of whatever you’re doing because you’re already gonna be having those conversations. You’re already gonna know the names and the players.

Jane Friedman [00:43:39]:
And so you’re gonna get up and running much more quickly as opposed to you have never entered that universe and you don’t know who to read first. And there’s going to be a lot of kind of fumbling around until you figure out who people are already paying attention to in your niche.

And then if you do need that light website, but you don’t want to, like, start your own WordPress or Squarespace or whatever, and you’re interested in pairing that with a little bit of light social media, let’s say you hate a lot of the existing social media options. There could be many reasons for that. You’re not particularly active anywhere. You could use Substack to kind of give you a light, in my opinion, friendly accessible way to have the start of your online presence. So it could be this minimalist site. Maybe you send a newsletter, maybe you don’t, but then you’re using notes to engage and be visible to to your community.

Jane Friedman [00:44:34]:
So those are all of the indicators that I think favor it. I think it becomes less favorable or you start saying maybe not if you’ve already really invested in certain assets that you’re trying to grow and associate with your name over time. So for example, in let me use a health example again. So another author I follow in the health world is Peter Attia. He’s a podcaster. He has a pretty significant website with all of his content. You’re not going to find him within 5,000 miles of sub stack.

Jane Friedman [00:45:04]:
He doesn’t need it. He’s driving everyone to be a member at his website. Going to Substack would be like probably degrading given the experience that he has created. So the more you move in that direction the more you’re in my position where I’ve had an established site now for 15 years. Substack is kind of like a toy you get to play with and you get to engage on social media and you have a little bit of fun. And I really do enjoy what I do there but it is not going to replace the serious business things.

Ann Kroeker [00:45:38]:
Those are good distinctions. I love that. And like you said, when you start with the person who doesn’t have so much of an online presence and you get your name, you reserve your name, then that playing around with it by subscribing to people, maybe some of the ones that you have recommended here. We could look at like you said, you could look at people you like and see what they’re subscribed to because of that recommendation feature. Right. Then you can start to just understand it, and I think that’s so helpful. And then decide, like, is this a good fit? Do I like the the way things are laid out here? Does it make sense, for people to navigate that and to navigate me and my world that I might build there too? And that’s a great way to start with that. Yeah.

Ann Kroeker [00:46:14]:
If you have your whole world, like, I do too. I’m like you. I have all this content over the years, right? That I I I love that idea. It’s my little play space. It’s like a playground for me.

Jane Friedman [00:46:24]:
I should also mention I don’t know how many how many listeners this would apply to but there are some people who are very e commerce oriented with their email. I’m not saying that all they do is sell but there’s a really big component to marketing and promoting X. It could be like let’s say you’re a self-published author who has new releases frequently. And so you need to tell your invested readers about them or you have classes to sell like I do or you have merchandise or there’s just a lot of offerings. Maybe you have a Shopify store or some other WooCommerce on your website. And so there’s always like something new coming around the bend that you have to market and promote. I think Substack is terrible for that. It is not for selling products merchandise.

Jane Friedman [00:47:10]:
Like if you want to sell a newsletter. Yes. But if you want to do something that I would consider more pure sales and promotion, you really need an email newsletter service like Mailchimp for that.

Ann Kroeker [00:47:21]:
I use ConvertKit. I do too. And, there are many others as well, but I I agree. I think that’s something you need to keep in mind if you’re gonna try to sell things. Because you get again, you get into that trick of, I have to bring these subscribers over here, perhaps, if they have but have they opted in for marketing?

Jane Friedman [00:47:38]:
Exactly. Exactly.

Ann Kroeker [00:47:40]:
Well, is there anything about Substack that we haven’t touched on that’s on your mind? Because this is you you said, I wanna talk about Substack. Maybe I didn’t ask the right questions. Is there anything lingering you wanna touch on?

Jane Friedman [00:47:51]:
I think the only aspect of Substack we didn’t discuss is the fact that it’s also an app. So there are people who only read content in the app and they don’t receive emails. In fact, this is so weird. There’s a really significant substack personality, Elle Griffin, who she loves it. She’s an evangelist for the platform. And as soon as the app came out, she was like, I’m unsubscribing to every Substack. I’m only going to read it in the app. And I thought, you do realize that by promoting this, you are essentially saying, if I leave Substack, I will have no more access to my subscribers.

Jane Friedman [00:48:27]:
Like this is to me, as a business person, I’m like, this is terrible. This is a terrible thing. So that’s just another, like I guess a cautionary note that I don’t know how much Substack is pushing the app. I don’t know what percentage of readers only read through the app without having the email come through. But to me that’s again that’s getting into the social media boat of someone else someone else’s algorithm is gonna determine whether or not they see my writing today.

Ann Kroeker [00:48:56]:
Right. Yes. I would not have thought of that except that I am using the app. My husband uses the app and and and subscribes to many things and uses the little reader. Even if they don’t record it, he likes it when it reads to him so he can go about his day. And I don’t know how much he even checks his inbox, but, yes, to to encourage people not to use their inbox is sort of negating that one huge advantage. Right. That’s a great point.

Ann Kroeker [00:49:20]:
Thanks for bringing that up. Well, this has been a great conversation, Jane, and I know people are gonna want if they don’t know you yet, which I can’t imagine anybody in the writing world who does not know you yet. So let me just say to you, if you’re watching, listening, tuning in for whatever reason, please go to janefriedman.com and just start diving into the archives and using that as an educational tool and learn about everything about the writing and publishing world because she is the expert. She’s the one everybody brings in as a keynote because she knows everything. You know, all the great and powerful Jane Friedman. But, is there anything you would like to send people to in in addition to Jane Friedman dot com so that they can get to know you better or take advantage of something that you’re offering?

Jane Friedman [00:49:59]:
Well, at JaneFriedman.com, like the good newsletter writer that I am, you’ll find mentions of both of my newsletters. The free one it’s called Electric Speed. It comes out every 2 weeks. And it’s just fun digital tools and recommendations for folks. Even if you don’t write I think it’s pretty fun. And then there’s another newsletter. That’s my paid newsletter. It’s called The Hot Sheet.

Jane Friedman [00:50:22]:
And it’s it’s really for professional authors or other publishing industry professionals who want to stay up to date on trends and news in book publishing. So it’s that’s a year’s subscription. I won’t allow anyone to do just a month. That’s that’s another maybe one day we can do how to manage a subscription business conversation. I think one of the the the Substack, you know, environment allows people to charge monthly or annual. And I think that is whew, that’s another mess.

Ann Kroeker [00:50:52]:
Yes. Yes. I agree with that too, but we’ll call, we’ll call it quits right now on discussing these things, because this has been an extreme, extremely useful discussion for people to make some educated decisions about what they wanna do. I subscribe to both of your newsletters. I do find them incredibly valuable. You do practice what you preach. You deliver value in each case. So thank you for all the ways you pour into writers all over the place, all the time, in just about every medium possible.

Ann Kroeker [00:51:18]:
Appreciate it.

Jane Friedman [00:51:18]:
Thank you, Ann.

Ann Kroeker [00:51:19]:
This episode is brought to you by YPM. Are you looking to reach more readers in a community of writers? Take a look at YPM, your platform matters. It’s my membership community where we discuss topics like this very thing, like whether or not or how to use Substack. I offer group coaching calls and platform specific trainings every month. It’s one of the most affordable ways to work with me. Check it out at annkroeker.com/ypm. That’s annkroeker.com/ypm. And I’m Ann Kroeker, cheering you on as a writing coach in your ear.

Ann Kroeker [00:51:50]:
Everywhere we may meet at my website, on the show, even in person. I’m always looking for ideas to share with you that will help you achieve your goals and have fun by being more curious, creative, and productive. Thank you for being here.

YPM is a warm and welcoming membership community committed to creative, meaningful ways we can grow our platform and reach readers—check us out!

“A writer — and, I believe, generally all persons — must think that whatever happens to him or her is a resource,” writer Jorge Luis Borges said in an interview, when asked about his blindness.

“All things have been given to us for a purpose,” he continued, “and an artist must feel this more intensely. All that happens to us, including our humiliations, our misfortunes, our embarrassments, all is given to us as raw material, as clay, so that we may shape our art.”1

You may be familiar with Kate Bowler’s book Everything Happens for a Reason: And Other Lies I’ve Loved, and you might think it would push back against the wording of this sentiment.

But I take the quote’s overall message to mean we can work with whatever happens, good or bad. In fact, that’s kind of what Kate Bowler has done. Her misfortunes shaped her art.

This summer brought our family celebrations, gatherings, challenges, and losses. And they came so fast, I couldn’t find time to document them all. For now, they’re jumbled in my mind and heart.

The Borges quote encourages me to revisit the summer’s ups and downs when life starts to slow…to take my time as I capture the details (and emotions) of the chaos that whizzed past.

Will you join me?

As you reflect on the past few months—the moments you couldn’t control, the raw material of your life—consider how you can work with all that transpired.

Were there adventures? Celebrations? Humiliations? Misfortunes? Embarrassments?

From these “resources,” we, as writers, shape:

We, as word artists, can transform all that happens to us into art.

As you reflect on the past few months—the moments you couldn’t control, the raw material of your life—consider how you can work with it.

Explore your journal notes, expand on fleeting thoughts, and, with your creative flair, discover the meaning and purpose within those experiences.

Whether they become part of a poem, essay, book, or blog post, see their purpose.

“Remember,” writes Anne Lamott in Bird by Bird. “that you own what happened to you.“2

Every event, episode, and experience contributes to your becoming who you are as a creative human.

Every hardship, misfortune, humiliation, joy, success, and celebration is a resource waiting to be shaped into art.

Use this prompt to tap into the raw material of your life:

Something significant that happened to me is ______________________.

This is what happened: ________________________.
Use vivid language and specific details as you recall the facts. What did you see, hear, or notice?

Here’s how it shaped and changed me: _____________________.
How did this experience shift your perspective, behavior, or beliefs? What did you learn about yourself or the world?

This is how I connect it with how it made me feel, deep down: _________________.
What emotions did it stir? Did those feelings evolve over time?

Here’s how I can use the experience in my creative life: __________________________.
Could it inspire a story, poem, or essay? What universal themes does it touch on?

The details may stay in your personal journal while the experience finds its way into your body of work in more subtle ways.

Your experience and insights may simply inform your work, your style, your ideas without being your work.

Or you may write it “slant,” relying on metaphor to hint at its impact.

It’s your creative prerogative to shape it as you wish.

Because the experience shapes you, but you shape it, as well.

YPM is a warm and welcoming membership community committed to creative, meaningful ways we can grow our platform and reach readers—check us out!

“The best advice I can give you to help you grow as a writer is to experience life.”

We came to hear about queries and proposals. We wanted to learn how this speaker organized submissions and kept track of contact information.

But at this breakout session at this writers’ conference, she insisted:

“I know you think your writing career is all about composing articles and books, but you have to be able to say something. Both fiction and nonfiction writers need material, so get out there and live life—take risks!”

To illustrate, she shared her own story about trying to waterski for the first time as an adult. Despite feeling intimidated, she took the plunge. The experience provided her with vivid sensations and emotions to write about, enriching her work with concrete details.

Her story prompted me to recall my own adventure. Earlier that same summer, I’d been invited to waterski, as well. Although I ended up with a spectacular wipeout, the memory of that risky experience stayed with me. I could see from my own life that she was right—I took the risk and lived to tell the tale, and it became material for my writing.

Creatives need to say yes to new experiences, even when they feel risky. Whether it’s traveling to a new locale, picking up a new hobby, or simply walking in the woods, these experiences fuel our creativity.

Julia Cameron encourages creatives to step out of their usual environments to gather fresh inspiration from museums, yarn shops, antique emporiums, and international grocery stores. These “Artist Dates,” as she calls them, are foundational to living a creative life.

To boost creativity, Mihaly Csikszentmihalyi suggests we “try to be surprised by something every day” (347, Creativity). This can be as simple as noticing an unusual car (for example, I spotted a Tesla Cybertruck today) or trying a new dish (pupusas are delicious). 

These small, everyday surprises add up, providing fresh material for our writing.

Our writing deepens as we combine new experiences with our unique perspectives. The more we explore, the more we bring to our projects. 

Each risk, each new experience, and each surprise enriches our voice and adds depth to our work. We produce original material, surprising the reader as well as ourselves.

By embracing the world around us, we not only enhance our writing but also grow as individuals.

Step out, explore, take risks, and let life inspire your next great piece. Next time you sit down to write, your work will take on your fresh voice and new life—you’ll have new things to say and new ways to say them.

______________________________

Sign up for the FREE course, Make Your Sentences Sing: 7 Sentence Openers to Add Music to Your Prose.

When I was a child just beginning to speak, my parents drove late into the evening to the rural property they bought. As they drove up the gravel driveway, the sky spread out above us with stars glittering like a million diamonds spread out on a jeweler’s vast black velvet display.

Across the fields, a million lightning bugs hovered in the tall grass, their gleaming bodies flickering on and off.

I pointed at the sky. “’Tars!”

Then I pointed at the field. “Baby ’tars!”

Perhaps I was destined to become a poet from early on, but my confidence in landing on that perfect metaphor virtually disappeared over the years.

As a young adult, when I was writing books and blog posts, I rarely integrated metaphors into my writing, and it showed. My work was straightforward. Plainspoken. 

While there’s nothing wrong with clear writing—in fact, that’s the foundation of nonfiction according to Ayn Rand (clarity first, then jazziness, she says1)—it lacked punch and pizzazz. My writing didn’t lift off the page and sink into the imagination or heart of the reader. It lacked that magical moment where an idea or image clicks and sticks with the reader. 

And I knew mastering metaphors was essential to great writing. I did write poetry in college, admiring lines like Emily Dickinson’s:

“Hope” is the thing with feathers –

That perches in the soul –2

Shakespeare’s: 

All the world’s a stage,

And all the men and women merely players;3

And Wordsworth’s: “I wandered lonely as a cloud.”4

Robert Frost said, in an interview in The Atlantic, “If you remember only one thing I’ve said, remember that an idea is a feat of association, and the height of it is a good metaphor. If you have never made a good metaphor, then you don’t know what it’s all about.”5

I resolved to make a good metaphor. I practiced.

My early efforts were hardly as magical as the child connecting stars to lightning bugs. Instead, they were more like a child pointing to a horse and awkwardly pronouncing, “Dog!” 

My metaphor practice felt clunkily childish instead of enchantingly childlike, but I had to make clunky comparisons to train my brain to find the oddly ideal ones that would surprise readers. 

In a Paris Review interview, William Gass said:

I love metaphor the way some people love junk food. I think metaphorically, feel metaphorically, see metaphorically. And if anything in writing comes easily, comes unbidded, often unwanted, it is metaphor. Like follows as as night the day. Now most of these metaphors are bad and have to be thrown away. Who saves used Kleenex?6

The process of making metaphors and practicing at it will result in some stinkers. The bad ones, like used Kleenex, need not find their way into your work. Toss ’em. That’s what I’ve done.

Most of my comparisons fall flat, but I’ve found it’s worth experimenting with mediocre metaphors in hopes of landing on ideal metaphors because when we nail it—when we find the language that connects—the reader remembers, relates, reads on, and possibly repeats what we say.

I kept writing dumb metaphors until I found better, more creative, comparisons.

Poets, like Gass said, “think metaphorically, feel metaphorically, see metaphorically.” We don’t have to be poets to play with metaphor, but we can follow their lead, studying their technique, admiring the rhythm of how they see and put it into words, like they’re fly fishing, casting their line, the rod in motion, repeating the flow until the rod bends, line taut. 

Our first time casting, we may end up with our lines tangled in the weeds lining the stream, but we’re out there, learning the process, finding the flow. It’ll come, in time, with practice.

A smarter idea than bumbling around on our own would be to collect samples of metaphors that stick. I should have started earlier, to learn from mentor texts, from authors who know how to wield their pen like a wand to create metaphor magic.

In the first chapter of The Writing Life, Annie Dillard tries on a stream of writing-related metaphors: “When you write,” she says, “you lay out a line of words. The line of words is…”

Was she laying out her lines of words searching for the right comparison? Or is our line of words any one of those—or all of those—at any given moment?

She looked at the line of words from so many angles, creating so many ways to think about our writing.

Defined, a metaphor is a figure of speech where a word or phrase is applied to an object or action that it doesn’t literally denote, suggesting a comparison. Ideally, the comparison conveys deeper meaning and creates vivid imagery.

Similes are similar, using “like” or “as” to make comparisons. Metaphors, however, assert that something is something else. For instance, “time is a thief” suggests that time steals moments from our lives, giving us a deeper understanding of its fleeting nature.

In this way, metaphors are a bridge, providing an instant connection between two disparate places offering deeper insight to the reader who crosses over from one to the other. 

When I was at the Spring 2024 Festival of Faith & Writing, Anthony Doerr, author of All the Light We Cannot See and Cloud Cuckoo Land, delivered the final keynote. In it, he spotlighted the power of metaphor to bring ideas, scenes, and images to life. He reinforced this bridge metaphor by pointing to its etymology.

“The etymology of ‘metaphor’ is ‘meta’ (across) and ‘pherein’ (bearing/conveying/carrying over)…A metaphor arrives and carries you across to the other side.”10

Metaphors carry us from one way of seeing the world to a new way of seeing the world. They have the power to transform our perception of the ordinary, revealing hidden layers of meaning and emotion. 

To help us see metaphors building their bizarre bridges, Doerr drew first from Virginia Woolf’s short story “The New Dress.”

In “The New Dress,” Woolf delves into the psyche of her protagonist, Mabel, who’s been invited to tea:

We are all like flies trying to crawl over the edge of the saucer, Mabel thought, and repeated the phrase as if she were crossing herself, as if she were trying to find some spell to annul this pain, to make this agony endurable.11

Mabel repeated that phrase of this idea of flies crawling over this saucer, and Doerr did, too, repeating the key image, nearly incredulous that this specific, vivid, odd metaphor works: 

Ladies at a tea party are like flies? Flies trapped in a saucer, trying to crawl over the edge?

I can’t remember all the details Doerr covered in his wild, fast-paced message, but I managed to preserve this in my notes: “She’s trapped in the imagery. She’s wrapped round and round in the social and economic class.”12

This is the power of metaphors in literature—they can turn abstract emotions into concrete images, making the reader feel the character’s experience, enter it, and grasp it instantly as they cross the bridge from one idea to another: women at a tea party, like flies trying to crawl over the edge of a saucer.

Metaphors may be magic, but clichés are metaphors gone bad. Or, more simply, overused.

The first time someone said, “It’s a piece of cake!” to describe a difficult task that was easy to pull off, they likely charmed the listener to compare a task with a piece of cake. 

Once upon a time, a gracious friend must have referred to an old situation that was forgiven and forgotten, and said, reassuringly, “That’s water under the bridge.” That first time, the other person must have visualized the hurt floating away and felt relief.

But over time, as these expressions were repeated countless times—maybe over a hundred years in some cases—they’ve lost their impact and originality. Once-vibrant metaphors have become yawners, failing to pack a punch because they’re overused. 

That’s why editors are quick to flag clichés, pushing writers to find fresh comparisons that can surprise and engage readers. 

Steer clear of clichés, and practice building better bridges. Craft evocative and emotionally resonant metaphors instead of stale clichés that whiz past unnoticed.

Think about a character in your current project or a personal story if you write nonfiction.

What’s the main struggle or emotion? 

Now, find an object, animal, or phenomenon that shares a deeper connection with that struggle or emotion. 

Link the two to form the metaphor.

How can you weave the metaphor into your narrative to enrich the reader’s understanding?

Here’s an example:

The main struggle or emotion: A writer struggling with writer’s block.

Object, animal, or phenomenon: A locked door.

The metaphor: Writer’s block is a locked door.

Metaphor woven into the narrative: “Writer’s block is like standing at a locked door with no key, jiggling the handle, unable to access the creativity on the other side. Worse, if we manage to pick the lock, open the door, and peer inside, we discover the inspiration we expected on the other side still isn’t there…only an empty room.”

Technically speaking, that sample is in simile format (I used “like”), so a short revision as a pure metaphor could be more like this: “Writer’s block is a locked door, keeping ideas and inspiration just out of reach no matter how much I jiggle the handle or pound on the wood.”

Or…

The main struggle or emotion: A writer struggling with writer’s block.

Object, animal, or phenomenon: A foggy window.

The metaphor: Writer’s block is a foggy window.

Metaphor woven into the narrative: “Writer’s block is like staring out a foggy window, ideas blurred and obscured, leaving the writer struggling to articulate them with clarity.”

With this sample, I also slipped into simile (I used “like” again). Here’s a true metaphor version: “Writer’s block is a foggy window, blurring and obscuring the scenes and stories I long to see, process, and express to the world.”

Experiment with metaphors, even if your early attempts are no better than used Kleenex. Your brain will begin finding connections more often and more naturally in life and in other people’s writing.

Collect the ones that model the magic of metaphor, so you see how it’s done and done well. The way metaphor connects one idea or image to another connects your words to your readers, as well.

“Get to work,” Annie Dillard writes, “Your work is to keep cranking the flywheel that turns the gears that spin the belt in the engine of belief that keeps you and your desk in midair.”13

Metaphors. They’re magic.

I made a last-minute decision heading to the most recent writer’s conference I attended. I’d planned to take my classy, professional, sleek gray backpack that I’d purchased to replace the original purple one I mentioned in an earlier episode. 

As I loaded it, I realized that to stay fortified, I needed to carry snacks and lunch each day—maybe even dinner—and it wouldn’t all squeeze into the professional-looking slim gray bag. I needed a bigger backpack. I dug around in my closet and found an older, different, ridiculously large purple backpack that I use for long trips. 

It wasn’t professional-looking at all, but my lunches would fit just right, so I showed up at this much anticipated writing festival with a purple backpack after all, and podcast listeners attending the conference would stop me. 

They’d heard the episode about planning and packing for a writing event. They’d shout, “The purple backpack!” and I’d say, “You’re a listener!” and we’d have a great time talking about writing. 

So that’s my first of 15 tips, some of which are super practical, like this one…

Test your bag to ensure it’s big enough to hold all the things you plan to carry with you each day plus whatever swag you collect along the way…even if you’re not going to look as professional as you’d like.

And don’t worry if your bag is a bit odd. People really do recognize you in a crowd if you have a memorable bag, purple or otherwise.

Someone shared this pro tip with me years ago: When you go up to the registration table, you’ll get a name tag attached to a lanyard. Pull out five or six business cards and tuck them behind your conference-designed name tag in the plastic holder clipped to the lanyard, facing out. 

If you haven’t already, plan which sessions you want to attend and mark those in your conference binder.

I choose sessions featuring industry experts I want to learn from or people I admire. This could be authors or publishing house representatives like a marketing executive or an acquisitions editor.

Circle the sessions you think are ideal for you. 

But…

Making a plan but staying flexible can help you feel less rigid, more open to serendipity. Or as Laura Fabrycky suggested I share with you, “Stay open to interruptions and sheer surprises.”

One morning at a recent conference, I planned to attend poet Christian Wiman’s session. In fact, I’d made tentative plans to meet up with a friend. I needed to allow a five- to ten-minute walk from the main gathering area.

As I was making tea, I got to talking with authors Summer Joy Gross and Lori Melton. Summer’s book was about to be released and we had not seen each other in person for several years. Then Lori and I connected at a conference years ago and we were enjoying these moments to catch up.

We were deep into the conversation when I looked at my watch and realized there was no way I would make it to see Chris Wiman—or I’d have to slip in late. 

Summer asked, “Are you going to the Madeleine L’Engle session?” 

“What do you mean the Madeleine L’Engle session?”

“Her granddaughter’s speaking about an unpublished book. It’s in this building in the Board Room.” Well, that I could make on time.

I had read the conference schedule, but somehow it didn’t sink in who Charlotte Jones Voiklis was, so I followed Summer and Lori to the session, texted my friend that I’d lost track of time, and ended up loving every minute. I’m glad I stayed open to “sheer surprises.”

Thankfully, the friend who attended Chris’s session said it was just what she needed.

Another time I went to the wrong room and ended up in a session other than the one I intended. But it, too, provided me with just what I needed. 

We can make our plans, but it’s okay to alter those plans—especially if we choose an opportunity that presents itself that leads to rewarding interactions and unexpected outcomes. Even mishaps and miscalculations can yield surprising results—the “wrong” room may turn out to be the “right” room.

Writers can be dreadfully shy. Challenge yourself to say hello to the person next to you in each session. That person may be as nervous as you are, but this is a big reason to attend these events—to meet people.

Who knows? Maybe they’ll become famous later. You might meet a writing friend or connect with someone who becomes an endorser of a book you’ll release in a couple of years. Be brave and say hello.

If you chat for a few minutes and it seems appropriate, hand that person a business card and invite them to stay in touch.

When you’re in a session, listen closely, take excellent notes. If you’re new to publishing, write down terminology that’s new to you so you can look it up later.

As you’re listening, think to yourself, If there’s a Q&A…

What one specific question will I ask?

This question should be based on what they just said, demonstrating you were listening intently—that you truly care about what they were saying—and you’d like them to elaborate on something, or clarify a point.

Make this question short, specific, and different enough that it’s not an obvious question that anyone might ask.

And make sure you really want to know the answer.

Write down your question.

Usually at the end of a talk, the audience gets to ask questions. 

Depending on the size of the room, the organizer might pass around a microphone, or audience members walk up to a microphone on a stand and wait in line to ask their questions. If the room is small, audience members might just raise their hands and speak up so everyone in the room can hear them. 

Good thing you’ll follow through with Tip #6 and write down your question, because you might get nervous and worry that you’re going to fumble. 

Let’s say they call on people in the crowd.

Raise your hand. 

When they call on you, stand up (this makes it easier for people to hear and see you).

If the organizers set out a mic on a stand, go to it. Wait in line.

When it’s your turn, state your full name. “Hi, I’m Ann Kroeker.” What this does is it puts a name with your face. Later, they may remember Ann Kroeker, the person who asked that question…and carried a purple backpack.

Don’t add a preamble or spend a lot of time thanking them. After you introduce yourself, simply smile and ask the question.

In some instances, there’s no Q&A but you might have an opportunity to go down to the front and interact with the speaker after the talk.

If they seem open to chatting with people, head down there with your question in hand. If others are milling around, shaking hands, asking questions, watch for your chance—don’t be too scared or shy.

Introduce yourself.

Ask the question. 

Have your business card at the ready in case they ask (which is easy enough if it’s in your plastic name tag holder, right?). 

If no one else is waiting and the speaker doesn’t seem to be in a hurry, you could, maybe, continue chatting because sometimes your question leads the conversation in a certain direction and they have a story to tell you or advice to give. 

Now you’re more than a random audience member. Now you’re one literary person chatting with another.

This is one of the many things that is magic about in-person events.

There may be many reasons you didn’t get to ask your question during the session.

Maybe they didn’t offer a Q&A. Or they did but you didn’t get a chance to ask your question before everyone else did. Or maybe the speaker rushed off to their next appointment. You may still have a chance.

Faculty are brought into these events to offer input, to give their talks, to encourage writers, to answer questions. Sometimes they’re sitting at a lunch table and they’re supposed to be there to meet and interact with attendees. 

As an attendee, find an open chair at the table. Introduce yourself, chat with them, and ask your question. 

Find yourself standing next to them at the coffee station? Introduce yourself and ask your question then.

If this person is a literary agent or an acquisitions editor, you may be tempted to pitch. 

Oh, friend, resist! 

Unless they ask what brought you to the event or what you’re working on, okay, then, by all means, share your hook. If they’re interested and ask for more, follow their lead.

But don’t haunt or hound any faculty (actually, don’t haunt or hound anyone, to be clear). 

Most conferences warn people, “Don’t follow agents into the restroom and talk to them outside a closed stall door.” Everyone laughs, but they say that because it happens. It really does.

Be patient. At many writing events, you’ll find an occasion to chat in a more appropriate location.

You might have multiple questions, and that’s great. If you have a lunch table chat, you might get to ask them all.

But some people are too nervous to ask even one question, and they might miss a chance to connect if they don’t write that out ahead of time. And limiting it to one keeps you from accidentally dominating that brief time of Q&A by asking too many questions.

Be yourself, be relaxed, be real. You’ll leave a good impression as a real human who obviously enjoyed what the speaker had to say. Why else would you ask such a specific, pertinent, and thoughtful question, right?

Asking it is a way to connect as humans who love literature, who love words, who love ideas and writing. It’s a way to compliment their work and thank them for being at the event without having to actually compliment or thank them. Simply asking the question does all of that.

You see that famous author and you want to introduce yourself and ask a question, but as soon as their talk is over, they head out the back way. 

Notice if they’re traveling with anyone. Do they have an assistant, friend, or family member with them? If that person seems approachable, sidle up and say hello. Introduce yourself. Ask innocuous questions about their work—the assistant’s work—and maybe you’ll learn something about their role that interests you.

And maybe while you’re chatting with them, you can say you had a question you hoped to ask. Is there a time during the conference when that speaker will be taking questions?

This person will know.

Who knows? Maybe they’ll put you in contact with that famous author for a few minutes later in the day or later in the event. If not, it’s always good to meet the assistants and friends, because they’re often the ones who can open doors for you later.

At the end of every day of the conference, you’re likely going to be exhausted from walking around all day, from taking all those notes, or from enjoying the social interaction if you’re an introvert. 

You may be excited by publishing potential or overwhelmed by all the flood of information. You may be discouraged, thinking you’re not ready. 

You may want to curl up in your hotel room to rest and rejuvenate for day two of the conference.

Then someone invites you to join them for dinner or to go out for drinks with a group of poets.

Decide in advance what you’re going to do—then try to gauge if you’ll stay open to those invitations or if you’ll kindly turn them down.

Attending writing events with a friend or friends adds layers of fun. You can swap ideas, go to different sessions, introduce each other to people you meet.

You’ll want to discuss how to handle energy levels. Some of your traveling companions may want to retire early; others might be ready to stay up late and party. Have the conversation sooner rather than later about who’s going to do what.

If you ride together, work out what to do if one of you gets an invitation and the others don’t. Will they need the same invitation—is that possible? Can they get to the hotel without you if you go out with other people? 

Discuss potential scenarios in advance to avoid frustration. Work with them on alternative transportation. If you’re the one depending on others, create contingency plans related to logistics.

Even if you don’t normally snap selfies, take some with speakers and other writers you meet. Get their contact information and permission to share on social media. 

If you swap business cards, take a quick peek. Is their photo on there? No? Scribble something on the card to remind yourself who they are and you can make the connection when you share it.

During or after the event, be sure to tag that person if you post it somewhere online. If you have a particularly nice photo you don’t share, that gives you a reason to email it to them.

You’ve practiced your pitch for weeks. You had a friend help you design a memorable One Sheet. Now you’re at the event and you can hardly concentrate because you’re so nervous, afraid it’s your one-and-only chance at a yes.

First, relax. That’ll help your pitch, and it’s not your one-and-only chance. You’ll be able to connect with agents in many different ways, even submitting through their online portal after you get home.

If you happen to interact with the person you’re pitching beforehand, don’t pitch them then. Simply tell them, “I’m your two o’clock tomorrow!” That brief interaction gives you a more comfortable starting point when you do meet, because the initial introduction is out of the way. 

Show up a little early at check-in (or whatever that event’s system is). 

When you’re able to join them at their table, walk up, smile. Let them kick things off. Chances are, they’ll ask you to tell them what you’re working on, and that’s your cue to share your hook.

When pitching, start with your hook and then pause for the agent or AE to ask questions. Be ready to summarize your book’s description and your platform, then avoid anything else overly memorized or practiced. Overall, you want this to be a normal conversation about the project and about yourself.

You want to connect with them as you chat, so hand them your One Sheet at the end, not the beginning. Unless they ask for it, of course. Think of it as something to leave behind rather than something to hand to them before you begin. Otherwise they’ll be tempted to look at it while you’re talking instead of interacting with you. They can look at the One Sheet later.

It’s tempting to think you’ll retain everything you learn, but as one session follows another, the information starts to blur and get lost.

At the end of the day, take a few minutes to process the day and jot down key ideas you want to carry with you into the next day and post-conference.

For example, did you learn about “platform” from one of the speakers? Write down any action steps they recommended so you can follow through with them when you get home. 

I recommend converting notes into simple lists of action points and quotable quotes—excerpts from speakers you might want to share on social media (when you’ll tag them and use the event hashtag for wider reach).  

Also, keep a list of people you want to follow up with after the event. Do you want to email them or mail them a letter? Make a note about what you want to do when you get home.

Follow everybody on social media that you met that day, because that’s a fun way to stay in touch right away and say hello. You could DM them a little greeting if you have a few minutes, saying how delighted you were to meet them.

If you don’t have much time or energy at the end of a day: Identify the one thing you’re going to implement from each session.

It’s easy to attend these things, get hit with the fire hose of information, and then do nothing with it. I want you to make the most of your investment of time and money. 

But first, when you arrive back home, toss some laundry in the machine and give yourself time to decompress. 

Then follow through with those end-of-day lists. Work through them or make a plan to work through them.

This is a good time to write letters, while your ideas and the recipients are fresh on your mind (and you have their addresses spread out when sorting business cards).

If you had a pitch session—no matter how you felt it went—send a note to the literary agent or AE, thanking them for their time and advice.

Did you make a new literary friend? Send them a note or email to say how glad you are to have made that connection. Don’t be afraid to propose an idea. For example, if you want to form a writing group with people you meet at the event, ask them if they’re interested.

In fact, write a note to each speaker you met who shared their contact information, every literary agent you pitched, every acquisitions editor you connected with. This is a great time to do so, because they’ll get it shortly after they get home, too.

Follow and interact with people on social media.

At the last event I attended, I noticed many people put all their photos together into a vertical video and posted it as an Instagram Reel or TikTok after the event. A few people posted in Stories. 

If you took selfies with others (see Tip #11), send them a copy via email and/or share on social media.

If you didn’t have time to journal during the writing event, document anything significant in a diary or journal, now that you’re home.

Did someone request your proposal? Excellent!

Based on what you learned from speakers and in pitch sessions, you may want to tweak your book proposal, One Sheet, or query. Then send it off! 

They’ll have many proposals to go through, so give them plenty of time to review, but congratulations.

If you realized a literary agent at the event seemed like a great fit but you didn’t get a chance to pitch, go ahead and reach out and let them know you were impressed with their session and you were sorry you couldn’t meet. 

Let them know you plan to follow the steps outlined on their website to query or submit your proposal, and they might be more likely to notice it when it shows up in their system or inbox.

You might also update your About page after getting ideas in one of the sessions you attend, so it looks good when people search your name or click through from your proposal. Maybe you’ll want to change the wording on your Home page or your newsletter signup form.

You learned a lot at the conference, but you won’t be able to take all the advice all at once. 

Create a punch list to work your way through over time. Improve, tweak, add, subtract.

Make your proposal and your online presence the strongest possible with your newfound knowledge and the advice you absorbed. 

At the event where I ended up in the session led by Madeleine L’Engle’s granddaughter—a session I hadn’t even selected—I reconnected with old friends and met some new friends. 

After the closing keynote, I drove the five hours home with a contented smile on my face, thrilled to have connected with word-lovers from all walks of life.

That’s what I hope for you too—I hope you leave any event you get to attend with a contented smile on your face, happy to connect with word-lovers from all walks of life, ready for your next steps. 

It’s truly a joy to spend time with writers. Now load up that backpack and have fun!

This post is one of three for writers heading to their next (or first) writing event (you can listen to them by clicking the player or subscribing to the “Ann Kroeker, Writing Coach” podcast, episodes 268, 269, and 270):

Are you getting ready to attend a writers’ conference?

Guess what? So am I! And I want to make the most of my time there, so let’s think through what will help with that.

You’re likely going for at least two reasons: to learn and to connect. You might also be going to pitch your project. Let’s prep, plan, and pack to get the most out of this upcoming event, so you’re even better prepared to learn, connect, and pitch.

And given that I work with a lot of published authors and speakers, it’s possible you’re one of the presenters. One day I might share detailed speaker recommendations, but for now I did weave in a few suggestions to make your faculty conference experience a little easier, too.

First, I should mention the Event Binder. This idea originated with Kathi Lipp on an episode of Writing at the Red House. Years ago I heard her describe what she includes in her “dossier,” as she calls it, and I’ve adopted and adapted the list to make it my own.

I load it up with all travel information (printed out, obviously) like reservations, and confirmations; contact names and emails; an envelope for receipts; a mileage tracker where I can log each outing; a printout of the schedule; and more. If I’m speaking, I print out copies of my messages in case technology fails.

That said, I do create redundancy by dropping the same information into a folder on my phone in an app like Google Drive or Notion. And I’ll save the key locations in my maps app so it’s a quick click and I’m on my way.

If you’d like a list of what I have in my Event Binder whether I’m an attendee or speaker, head to ​annkroeker.com/conferenceprep​ to get a checklist.

Hopefully you already read the session descriptions when choosing this conference and got a feel for the presenters and other faculty.

Now, in the days before the event, study the website to learn about the organizers and faculty. You never know who you’ll be sitting next to at lunch or crossing in the hallway—knowing the team and speakers means you’ll be able to connect more personally during any random interaction.

Find and follow key faculty on social media. Search YouTube and podcasts to find your favorite speakers. Listen to at least a few minutes of their interviews, presentations, or lectures. 

[Edited to add an excellent suggestion from writer Li Mitchell, who replied to my newsletter and suggested “joining presenters’ email newsletters (if they have them) and getting to know them through email before you attend their conference …because then when you met them in person, you would already have spoken through email.”]

When you do this, each speaker will lift off the pages of the conference materials and seem even more “real” when you hear them tell a personal story about family or childhood in a podcast interview. You’ll get to hear their voice. You’ll see mannerisms if you see them on video. If you have time before the event, you could read one of their books.

If you create an Event Binder, write questions to ask and details you learn next to their name and session description. If you need more space for key bits of information, grab a sticky note so you have more room to write. If the speaker says something that stands out—like a hobby, a school, or a trip you relate to in some way—write that down, too.

These little notes are handy—if you brush up on what you’ve written before their session and meet them afterwards, you’ve got a conversation starter (“I heard you love Belgium—my husband’s from Belgium, and I love it, too!”).

The more I learn in advance, the more excited I get about the conference. I hope you do, too.

Most events like attendees to use an event-specific hashtag on social media. In fact, they might tag you or share your posts when you share.

If you feel comfortable sharing ahead of time, highlight the event by tagging the organization or organizer and use the hashtag—before you go to the conference. It’ll get your post in that feed and you might meet people online and connect with friends and colleagues in advance who search it and plan to attend, as well. 

It’s a way to get buzz going ahead of time and build anticipation.

The last and obvious thing you and I need to do before the conference is…pack.

When I take my time to ensure I’ve brought the items that will help me make the most of this event, it’s easier to relax and enjoy myself.

Grab the binder, of course, if you make one.

For me, it slides in the main compartment of my day bag that I’ll be carrying around all day. For me, it’s a backpack. You’ll want to choose your bag.

If you’re physically able to carry a backpack and you don’t feel too…collegiate…toting it around on your back, I recommend it. 

A spacious backpack will hold a laptop (if you take one) and/or an iPad-type digital notebook, paper, pens, a small lunch (and floss, for after lunch), snacks, gum or mints, business cards, water bottle, umbrella, portable power bank to charge a drained phone, and other bits and baubles—whatever you like to carry with you from building to building, room to room. 

Obviously we’ll all have different items we like to have on hand. Those are ideas to get you started. And something like a backpack gives you lots of slots to stay organized.

Be sure to leave space for goodies, because you’ll acquire things while you’re there, like you might buy a book from the event book table, or freebies from exhibitors and sponsors, like free pens, water bottles, coasters, and the like. 

Whatever bag you end up bringing, leave space for swag.

One year I carried a ridiculous purple backpack. I stuck out and felt self-conscious, even unprofessional, but it’s what I had and it held what I needed. 

A dear friend and I were chatting after a session where she was speaking, and she noted my purple backpack. We joked about it. “Well,” I said, “it makes me easy to spot!”

She was leaving a day early and wanted to say goodbye to me, but in the sea of attendees criss-crossing the campus, she assumed it would be impossible to connect with me again. She felt sad about it.

Then, she saw a flash of purple.

I heard my name. “Ann! Ann Kroeker!” I looked up and saw her waving with both arms, and I raced over to give her a huge hug. “I saw the purple!” she exclaimed.

That purple backpack accompanied me to a lot of writing events. After that, I got over any sense of feeling unprofessional. 

In recent years—and I don’t know why—I eventually bought a new backpack. And it’s gray. So all these years later I still carry a backpack, but you’ll never find me in a crowd.

Now I’m going on and on about this backpack, and I’ve dragged you into the weeds, but I’ll end by saying this: don’t go out and purchase a backpack—gray, purple, or otherwise—just because I’m talking so much about it. By all means, use what you have and enjoy. You know what works for you.

And as much as I love a good backpack, I know not everyone is physically able to carry one. In fact, I had lower back pain years ago that made it impossible, so for those outings I would borrow a rolling briefcase from my mom, which saved the strain. 

If you purchase books by faculty, take those along and see if you can find a time for the authors to sign them. Don’t worry if you didn’t have time to purchase speakers’ books in advance, because you’ll probably be able to purchase them on-site to have them sign. 

And of course if you’re speaking, coordinate with the conference to have your books available for purchase and see if they’ve planned a signing.

Many conferences schedule author book signings for their speakers, and it’s always fun to enjoy that fleeting one-on-one moment with the writers you admire. And if you’re the speaker doing the signing, it’s wonderful to interact with people who are enjoying what you’ve written.

In a smaller setting with no official book signing, you might try to find an opportune moment. If you’re chatting with the author, they seem relaxed, and there’s not a line of other people waiting for their moment, ask (but give them an “out” to say no). I did this with the late Phyllis Tickle, and she gladly signed my copy of her memoir and the series of The Divine Hours I pulled out of my backpack.

I was glad I took them along.

Consider how you like to take notes.

I love typing up conference notes on my laptop, but sometimes I want to travel leaner so I grab my ancient iPad. It works, but the battery drains away fast. So it’s not the best option these days.

Even fully charged batteries of new devices will eventually drain and WiFi can slow down when hundreds of people log in at an event, so I always take paper and pen, as well, in case the machines fail. In fact, I add extra lined sheets of paper in my Event Binder.

It’s nice to have options, and analog always comes through. Plus, it’s quieter than tapping a keyboard during someone’s talk.

Some events offer critiques, where a publishing professional—such as a professor, agent, or editor—reviews your writing submission prior to the conference and meets with you to discuss its strengths and offer suggestions to improve the project.

If you signed up for this, you will have already sent a digital copy to them prior to the event so they could review it.

Check your email, though, in case they ask you to bring one or more physical copies of the document to the conference.

And prepare to take notes during the meeting. Will you use a laptop (that might be in the way), an ancient (or new) iPad, or paper and pen? Record their suggestions quickly, as individual sessions aren’t a leisurely coaching call. You’re only going to have a few minutes with them. Make the most of it and listen to what they say.

Prepare yourself emotionally for their input, no matter how harsh it may feel. Practice smiling and saying, “Thank you so much for your time and input! I’ve learned so much from you.”

If you signed up for a pitch session at your writers’ conference, you may want to create and print off copies of a One Sheet that summarizes your project.

Even if your pitch goes well and the agent or AE (acquisitions editor) likes it, they probably won’t ask for a hard copy of your proposal that they’ll have to lug around all day. Most interested agents or AEs will ask you to email it to them after the event, so take them up on it and don’t worry about loading down your bag with a bunch of hard copies of your proposal. But you might want to pack one, for that one agent who loves the project and wants the hard copy to review on the flight home. 

Nearly every agent or AE will accept a One Sheet because it is, after all, only one sheet of paper. In fact, some agents request them. I encourage people to create and take a One Sheet.

What’s a One Sheet? I’ll record an episode about One Sheets sometime, but for now check out the link below with more information (see the Resources).

You’ll want to be yourself and sound natural when you head into a pitch session, but you also want to make the most of that brief time slot and avoid rambling.

To ensure you can talk about your book with clarity and confidence, practice your two-sentence hook and your slightly longer elevator pitch. When your pitch feels conversational, and yet tight and clear, you’ll leave time to discuss it further and connect with the publishing professional. Stop after your descriptions to let them ask questions. Enjoy the conversation.

A few years ago I hosted literary agent Cynthia Ruchti, who led a simple training to model how you can develop a pitch that makes an impression. She offered inspiration to novelists, especially, and included tips for authors of nonfiction (see below).

As with a critique session, prepare yourself emotionally for the agent or AE input and response, no matter how disappointing it may feel. They might request your proposal or a partial (of your novel), or they may say it’s not a good fit.

Either way, practice smiling and saying, “Thank you so much for your time and input! I’ve learned so much from you.”

An optional conference item that may seem a bit antiquated is the good old reliable business card.

A member of my platform membership program attended an event where she couldn’t even carry a bag, so she ordered something called the Dot, a digital alternative to a physical business card. It worked well given her limitations. https://dotcards.net/ 

This kind of technology is common at Silicon Valley events, but literary people tend to be a little old school. If you have physical business cards, take along a stack. They’re fun to swap. 

If you’re a speaker at a writers’ conference, you’ll need to include extra items in your Event Binder, like a copy of your talk(s), all the places you’re expected to be with your own personal schedule, pitch sessions and names of people who signed up, speaker meal information, speaking contract, and other information.

I like to bring a flash drive with my slide deck in case my laptop doesn’t play nice with the event system. I also invested in various dongles and adapters to connect my computer to the screens in the room.

I even have a gadget to advance my slides, just in case the facility doesn’t have one. It keeps me from being tethered to my computer tapping the spacebar. It’s a little unnecessary and over-the-top, but my husband got one at a conference he attended years ago and gave it to me, since I speak and he doesn’t. 

You may also want to grab a clipboard and print out a sheet for people to sign up for your email list with a note granting permission for you to add them to your email service provider. You can go home, add them to your system, and send them notes, resources, and any handouts.

Despite this long list of suggestions, I’ve survived crazy seasons of life where I just had to throw everything in bags and hope for the best. I didn’t research a single speaker and still had a great time at the conference. I learned tons, made new friends, and connected with industry experts.

Make lists, prepare as best you can, then pack your bags and count down to your travel day.

If you’re planning to pitch, I wish you the very best.

As for me, I’ve got my binder in my backpack, and I’m ready to learn and connect! 

Have you attended a conference and have ideas to share that will help people prep, plan, and pack? Drop those in the comments!

This is how to Prep, Plan, and Pack to Get the Most out of Your Next (or First!) Writers’ Conference, part two in a short series.

Grab this fillable workbook to create your own Conference Event Binder (and other goodies) You’ll get:

Get your FREE Event Binder resource

Attending my first writers’ conference proved to be life-changing—or at least career-changing. In the years since, I’ve attended a wide range of writing events, and each one has in some way substantially contributed to my career.

Some deepened my knowledge, others expanded my professional network—most did both.

I can’t imagine where I’d be without them.

Could a writers’ conference be a life-changing/knowledge-deepening/network-expanding opportunity in your future, even this year? If yes, how do you determine the right conference for you?

This post is the first of a short series on how to get the most out of your next (or first!) writers’ conference, starting with how to choose your next (or first!) writers’ conference. 

In the early days of my writing career, I explored freelance writing. Thanks to a mentor, I learned how to pitch myself as a writer for companies looking to outsource things like company newsletters and I gained a few core clients.

That launched my professional writing business.

But as a creative writing major attracted to poetry and essay writing, I wanted to explore other types of writing and submit to magazines, for example, so I picked up everything I could from library books.

The books, while excellent, were not enough to answer all my questions or help focus my efforts. And the internet did not exist at that time. In time, I instinctively knew I needed to start connecting with writers and learn from them. 

In fact, I started to crave it.

Somehow I heard about an event in Chicago called Write to Publish. I registered and attended it as my very first writers’ conference.

Nervous and unsure what to expect, I showed up and sat through sessions, as speaker after speaker delivered talks that energized my creativity, while the speakers themselves embodied a life I wanted to pursue: that of a working writer building a body of work to be proud of.

Many first-time conference attendees feel so overwhelmed by the flood of information at events like these, they conclude they could never pull it off and give up, walking away from writing and publishing altogether.

I felt overwhelmed, yes, but mostly excited and empowered. It was exactly what I wanted; it was exactly what I needed.

By the end of the conference, I interacted with attendees who in time became colleagues. I met someone who became another writing mentor. Those conference connections formed the beginnings of my professional network.

If you attend a writing conference…

If you’re considering attending a conference or any kind of writing event for the first time, I hope you find it proves to be a pivotal step in your journey. You never know how a chance encounter in the hallway or a timid hello as you take your seat in the auditorium could be the start of a professional relationship or a literary friendship that changes your life.

As we dive into what a writers’ conference is and how to choose the right one for you, we have to face two small but fascinating issues. One, believe it or not, is punctuation; the other is labels.

Let’s start with punctuation.

You surely think this is overkill, but humor me for a minute.

Sometimes you’ll see an event called a writers’ conference, other times a writer’s conference. Occasionally you might spot a writers conference with no apostrophe. And then a few call their events writing conferences, avoiding the need for an apostrophe altogether.

In most industries, no one would care one bit about this level of detail. These conferences, however, are events catering to…writers, agents, and editors. So of course we notice the apostrophe (or lack thereof). And of course we start wondering how that tiny fleck of ink affects the attendees’ (or attendee’s) experience. 

Without wasting more time on the grammatical implications, I bring it up for practical reasons. Because when asking your writerly friends what conferences they recommend, apostrophe placement may not matter much, but in an online search each version could produce different results. 

 To turn up the perfect event for you, try using all the different search terms:

In your online searches, you also might change the word “conference” (singular) to “conferences” (plural). Conferences (plural) might turn up a list of events in a single article, which will save you time in your search.

If you search for the singular “conference,” your search results may deliver endless events to sift through one at a time…but it still might be an advantage, as you might find a new event that wasn’t around when a list of events was compiled into one article.

Most writers’ conferences feature speakers with sessions that educate authors about topics like industry expectations, genre-specific recommendations, author platform advice, tips for developing book proposals (especially for authors of nonfiction), queries, and other publishing advice. 

Conferences can also come in all different sizes, but most will offer keynotes, lectures, and breakout sessions. Some may include readings and workshops paced throughout a long weekend or some are a full week. 

Most writers’ conferences offer pitch sessions for writers who have completed non-fiction book proposals or for those who have complete manuscripts for their novels or memoirs.

Many conferences will have different tracks: one track might be for novelists, and the other might be for non-fiction authors. One might offer a track for unpublished authors and another for more advanced authors to discuss topics that new writers aren’t ready for. 

Knowing all of this can help you choose the best fit as you’re searching.

The other question is this naming or labeling. Gatherings for writers might go by different names. In addition to writers’ conferences, I’ve seen and attended:

Each designation suggests a different purpose and personality. When you realize how one tends to differ from another, you’ll be able to match your professional needs and goals with the right event. 

For example, you might want to write and talk about craft at a retreat led by a writer you admire, maybe in a beautiful setting. This event would feel dramatically different from a two-day conference hosting hundreds of authors that offers 15-minute agent pitch sessions and is held on a college campus or at a hotel. 

That’s why you’ll want to first be aware of what kind of writer you are and the writing you’re focusing on at this moment, then determine your purpose for attending a writing event.

This will include where you’re at in your professional and publishing journey. Then consider your current project and its stage of development. Today, I’m mostly covering the in-person conference experiences, but you may find similar benefits at something labeled something else.

Study the descriptions carefully, read the fine print regarding refunds and take into account that certain experiences may be much more expensive than others.

Knowing yourself and your writing goals and writing stage can help you determine your purpose for attending an event. It can help you decide if you’re better suited to an event for:

When you realize an event doesn’t offer speakers or sessions suitable for the kind of writer you are and the writing you’re pursuing, cross it off your list. It won’t be worth your time.

Next, consider what you need given where you’re at in your writing life and with a given project. 

Are you:

Given your current project’s status, you can decide which conference offerings will move it forward to its next milestone.

Even if you’re an unagented writer—that means a writer without a literary agent representing you—if you have a partially developed nonfiction book proposal, you may want to attend a writers’ conference to meet people and practice pitching. You might converse with an industry expert who offers ideas to strengthen your project!

Once you narrow the options to an event that seems right for you, you’ll have access to useful information provided by industry experts, and you’ll meet other writers, literary agents, and acquisitions editors who are in the same space as you.

Here are common benefits:

Learn and be inspired: If you’re new to writing and publishing or if you’re new again to it after a break, search for events that will provide you with foundational advice from trusted professionals lined up as faculty. The combination of motivating keynotes and educational breakout sessions could be just what you need.

Network: You’ll be mingling with other writers at these events. Some may be at the same stage as you, and others will be further ahead. You’ll chat at the coffee station during breaks between sessions. You might sit next to each other or stand in line together to meet a speaker at the end of a presentation. These may become future colleagues who endorse your book when it comes out or introduce you to an industry gatekeeper—they might be an industry gatekeeper!

Find an agent: If you have a completed manuscript or book proposal but you haven’t yet landed an agent through querying, look for events designed for your genre with literary agents and acquisitions editors from agencies and publishing houses that interest you. Be sure they offer pitch sessions and sign up the minute that option is available. Even if you don’t land a spot with your ideal agent, as I mentioned, you might bump into them naturally and have a chance to interact.

Even if you’re an introverted or dreadfully shy writer, don’t let that keep you from attending a writing event.

I’ll be encouraging you in another episode to make an effort to meet new literary acquaintances. Building a network of like-minded literary people is priceless. For now, know this: You might not meet your kindred spirit, but it’s highly likely you’ll meet someone you can at least follow on social media.

And you might get to know someone who can help you take the next step in your creative journey—you might encourage them, as well.

Conferences and other writing events aren’t cheap. In addition to the registration fee, you may need to ask for time off work, arrange for childcare, pay for travel, housing, and meals.

It adds up. And the writers who most benefit from conferences are rarely at a stage where they are compensated well for their writing, so it becomes a conundrum.

Small, Local Events: When my kids were young and our funds were limited, I looked for nearby one- or two-day events within driving distance. They often brought in two or three speakers and focused on a narrow aspect of the writing life. Those really helped me at that stage. Just because they’re small doesn’t mean they’re not offering valuable input.

Scholarships: Some events offer limited scholarships, so if you feel you qualify, reach out and ask the event organizers.

Grants: If you have enough time before the event, you could consider applying for a grant that aligns well with your writing project(s) and target reader.

Subsidized from Personal Budget: You might consider how other aspects of your life and work could subsidize this event. Be clear about what you hope to gain from attending—and how it fits into your long-term writing goals. That could be a way to view your investment in attending this event.

When I attended Write to Publish, I was building my freelance business. It probably took another year to start making substantial income, but in time I made enough to cover those initial costs. 

I wasn’t super savvy back then, but in retrospect I think I was viewing my writing as a small, startup business. The conference was an investment in my professional development, and I gained information and connections that contributed directly to my success.

In a remarkable turn of events, I’ll be on the faculty of the Write to Publish conference in Wheaton, Illinois (Chicago area), June 11–14, 2024. 

Yes, all these years later, I’ll be on site at the same event that changed the trajectory of my writing career. This time, I get to be there as a coach to support and serve Christian writers who want to be traditionally published. 

It’s humbling to come full circle, and I can’t wait to be there again.

If, after learning more about ​Write to Publish​, you feel it’s a good fit for you, use my affiliate code AK2024 at registration checkout to get $25 off. 

Make sure it’s a good fit—that’s part of the research. Again, Write to Publish is geared to Christian writers and traditional publishing. 

I have attended so many different types and styles of writing events over the years. I have loved every single one of them, whether they were in person or online, whether they were a one-day or a week-long event, whether it was a retreat or a conference.

Determine your criteria right now. What you need today might be different a few years from now when you’ll pick a different event. Dive in to research the options that suit you best.

Study the faculty, the session titles and descriptions, and how the days are structured. Do they have agent pitch sessions or not? Do you need that?

If you’re writing novels for the general market or you’re writing genre fiction, skip the Christian conferences clearly designed for authors of nonfiction. Avoid those that are focused on essayists submitting to literary journals, unless that’s what you want!

There’s no one perfect event, and no one event is going to have everything you need for all time. As I mentioned, I’ve attended many different types and styles of events over the years, and each one has given me a little something different to walk away with and apply to my writing journey. 

As you find one that feels like a good fit, don’t delay too long because some of them fill up. In fact, some might be full already—you can register or get the waitlist for your favorite. 

And look forward to connecting with people in the publishing industry who might be instrumental in getting you where you want to be as a writer in 2024 and beyond.

Once you choose your conference, keep an eye on the second article, about making the most of the conference itself (with tips for preparation and creative ideas to try while you’re there).

I stared at a blank screen. Why did I ever think I could pull this off?

Until that moment, I’d only written short projects. Articles, essays, poems. 

As I sat staring at the screen, questioning myself in about every way possible, I was supposed to be writing my first book—a manuscript of over 50,000 words.

Overwhelmed, I sat at the keyboard, frozen.

Sound familiar? Have you felt inspired to write a book you believe will truly help people—even transform them—but you’re not sure you have what it takes? 

Well, once upon a time, this writing coach was in the exact same place.

I was staring at the screen, inspired to write a book, but doubting myself: Do I have what it takes to write a book?

How does an essayist-poet-freelancer embark on the massive task of completing a 55,000-word manuscript?

That question felt unanswerable and I felt inadequate.

This prose-freezing self-doubt was a huge problem, however, because I’d signed a contract. I was obligated to write a book I didn’t think I could write.

For a year or so my friends had been urging me to move forward with writing a book after I kept sharing concepts with them in conversations over coffee or during play dates at the park. One after another, they would say, “You should write a book about that!”

I’d laugh it off. “Me? Write a book? Ha!” 

“But you’re a writer!” they’d insist.

“I’m a writer of short things. A book is too long, too huge.”

They’d shrug and we’d go back to wiping yogurt off our kids’ faces.

One day I was meeting with my mentor, a writer named Ruth (I had two writing mentors named Ruth—what are the odds!—and this was the Ruth who lived nearby). Nearby Ruth was the author of a book acquired by a publishing house based about three hours north of us. 

She offered to introduce me to the editorial team, so I could pitch the idea to them over lunch. She said she’d drive me up there herself! All I had to do was hop in the car, share the project with them, and hand out copies of a book proposal. 

It was all arranged.

What a great mentor, right?

I just needed to create the book proposal…which I didn’t have the faintest idea how to put together.

“I need a book proposal? Can’t I just describe the book?”

“They need the book proposal,” Ruth said. “That’s how they do it.”

It’s the same now as it was then, by the way. For nonfiction projects, an author produces a book proposal before landing a book contract with an agent or editor. (Learn more about the process and purpose by watching this webinar.)

Back then, I had no idea what a book proposal looked like. This was pre-Internet, so there were no samples to download or coaches to hire.

“You can look at mine,” Ruth offered. “You can see how it’s laid out and how I described my book. Then you can plug in your book’s details in the same places.”

Can you believe that? My mentor offered to let me see her own book proposal like it was no big deal.

But it was pivotal. Life-changing. Career-forming.

Hers was the first book proposal I ever saw. I pored over it, following the flow to craft my own. Her subheadings showed me the purpose of each section. Her content gave me ideas for how to phrase the business-y stuff about mine.

Weeks of work went into that document.

I wrote the overview, typed up a bio, and listed famous people I could ask for an endorsement (I didn’t personally know famous people, but at that point in my life I knew people who knew people, so I added names with an explanation of each friend-of-a-friend connection).

Then I got to the meat of the proposal: 

The Table of Contents.

The chapter summaries.

This took time, because I was essentially writing the book without writing the book, and if you recall, I’d never written a book before so I had no idea what I was doing.

But I knew what I wanted to say, more or less. Like I said, for a year or so I’d been talking with friends about these ideas.

I did my best, summarizing what I thought I should include in each of those chapters, arranging the ideas in an order that made sense. I invented a marketing plan. I wrote an introduction and a sample chapter.

Then I got in Ruth’s car and rode north with her to my meeting with the editorial team.

After introductions, Ruth left me at the sushi restaurant where I met with the team.

I pitched. I showed them the book proposal. I dripped soy sauce on the table and soaked it up with a napkin, laughing it off. (It was not only my first time pitching a book, it was also my first time eating sushi.)

To my surprise—despite the soy sauce spillage—they were interested. After I got home there was a lot of back-and-forth, but in time they offered me a contract to write that book.

That’s how I found myself sitting at the computer with a signed contract and a deadline…and a wave of self-doubt.

And after spiffing up the first chapter, which I’d already written for the proposal, I found myself staring at that blank screen.

“Ruth! What have I gotten myself into!” I practically cried when I updated her. “How can I write an entire book? It’s too much, it’s too long!”

Ruth calmed me down. “Hold on, Ann. Yes, you can write this book.”

“I can’t write that many words!”

“You don’t write them all at once,” she said. “You’ve got your Table of Contents, right?”

“Yes. In the book proposal.”

“You’ve summarized what you plan to put in those chapters, right?”

“Yes.”

“Treat each of those chapters like one of your longer articles, and write them one at a time.”

How about that! I flipped through the document and realized she was right.

I’d already outlined the entire book. My ideas were right there in the book proposal I so diligently pieced together. 

“I’ll try.”

Ruth smiled. “You can do it. I know you can do it.”

I could breathe again. She demystified the whole thing and framed the writing of a book around the kind of writing I already knew I could pull off.

I followed her plan to write one chapter at a time—like a long article—and move on to the next, piecing them together to make the book. 

I tend to be a little more of a “pantser” than a “plotter,” but I sat at the keyboard grateful for the book proposal because it forced me to create structure for this project before I sat down to do the work.

All I needed to do was follow the plan: the road map I’d already developed to take the reader from page one to the end. 

Turns out I had everything I needed.

We come to new projects with strengths from other parts of our writing lives—and from our lives as a whole.

Maggie Smith’s interview on the Write-Minded podcast emphasizes this reality: that even experienced writers approach each project as a new challenge.

She explains that her memoir, You Could Make This Place Beautiful, was “cobbled together.” She could see that having written poetry books didn’t really prepare her for writing a full-length memoir.

“How does one write 65,000 words,” she says, “because I honestly have no idea, as someone who writes poems that are typically less than 17 lines long and has never thought about word count. I had no idea how to sort of sustain.”1

Not that I’m comparing myself to Maggie Smith, but like me, she knew how to write short but had no experience with how to write long.

And she also didn’t see herself as a storyteller. “I’m not really a storyteller primarily in my poems, or at least I don’t think of myself that way. I think of myself more as an ‘image presenter’ or an ‘experience distiller’ or ‘crystallizer’ than a storyteller, so I thought, This is going to be interesting.”2

It seems she had the same “Do I have what it takes?” concern as you and I.

But unlike me, it sounds like she didn’t freeze or panic. Instead, she drew from her strengths—her gifts and experience as a published poet—to creatively piece together one of the most unusual and popular memoirs of 2023.

Her approach? She wrote vignettes one at a time independently from each other, out of chronological order and without an outline. The book “distills” and “crystallizes” her experiences and presents images, holding our attention. 

With help from an editor, she assembled the book by sorting these pieces to find themes, styles of writing, and various connections that flowed together.

By color-coding them she arranged them on her living room floor until she found what seemed balanced. “It was a craft project,” she jokes, which is how she puts together her books of poetry, following her intuition, looking for “the natural progression.”3

She trusted the writer she already was and the writing she’d already done to find a way into this writing that was new.

She played to her strengths and found her structure, her voice, her stories, and every word to make her book beautiful.

David McCullough has said, “Every book is a new journey. I never felt I was an expert on a subject as I embarked on a project.”4

Novelist Cassandra Clare says it’s true in fiction, too. “No matter how many books you’ve written, whenever you sit down to write a new book you always feel the same challenge — how do you shape this story into a book that people are going to love.”5

I interviewed Jennifer Dukes Lee about writing her guided journal Stuff I’d Only Tell God. She’d already written multiple trade nonfiction books, but never anything like this guided journal. It’s a book of questions, not answers.

But Jennifer leaned into who she was as a journalist, a blogger, and an author. She’s both a natural and trained question-asker. She was born curious; she was a journalist by trade. She already had what it would take to write this book that was in a totally different genre than her others.

I have been writing online in a pretty open way since 2009….and…I was a newspaper reporter. But in the same way that I was interrogating police chiefs and mayors and governors, I began to interrogate my own life in that way. So I feel like turnabout’s fair play.6

By turning her own question-asking training on herself, she developed questions she knew could work for anyone ready to pen an interesting, deep, thoughtful journal that opened them up to the things that matter most.

And she wrote a book unlike any she’d written before, because she had what it takes to pull it off, even when she wasn’t sure about that when she started the project.

Every book is new, so even if we’ve authored other books, we may find ourselves wondering, as Maggie Smith and Jennifer Dukes Lee did, if we have what it takes. Like Cassandra Clare, you may know how to write a book, but you don’t know how to write this book. 

Trust what you know and what you can research and learn. Draw from skills you developed the first time you wrote a book or from what you gained while writing other kinds of projects.

Tap into your personality, too, to find your way forward. 

With experience and personality, you have what it takes to write the book that’s on your heart.

Your book is your book, your experience is yours alone, and your personality is one-of-a-kind. Put all that together, and you have what it takes—you can get ideas by seeing how others write, but in the end, you’ll find it within.

As my deadline loomed, I no longer panicked because, with Ruth’s reassuring reminder, I saw how to write that book with the truths I’d gleaned in the voice I’d developed. 

Drawing from my work writing feature stories for the local paper, I ended up weaving in the wisdom of others, too, interviewing moms to include their stories, ideas, and insights.

I figured out how to write that book—and a few weeks before it was due to the editor, I finished the draft, and enlisted beta readers to offer their input. I incorporated changes for the final draft and sent it off.

Turns out I had what it takes.

I’ll bet you have what it takes, too.

I’ll go out on a limb and make one suggestion that I believe will help. Regardless of your style of writing, genre, category, subject matter or experience, creating and following a plan will save time and build confidence—even if you’re a “pantser” (that is, even if you write by the seat of your pants).

If you’ve written a book proposal, you’ve got the plan.

In your proposal, you’ve developed the ideas you want in the book and organized them into a Table of Contents. This takes time—you can use different tools to unearth and organize the things you want to say and the information your reader needs. Learn more HERE.

Turn to the chapter summaries (sometimes called the annotated Table of Contents) and follow those to start writing the book, idea by idea, word by word.

When your ideas are in place, thoughtfully built out to support our claims, we write everything—no matter how long or involved—word by word.

Anne Lamott’s brother panicked because he needed to turn in a report on birds and hadn’t even started it. She says her brother sat at the table with books and pens unopened and untouched, because he was unable to take action.

I know how he felt, because I sat frozen at the keyboard, overwhelmed at the thought of writing an entire book. He had to write an entire report on birds in one night; he must have wondered if he had what it takes. 

“Then my father sat down beside him,” Anne writes, “put his arm around my brother’s shoulder, and said, ‘Bird by bird, buddy. Just take it bird by bird.’”7

If you feel like you don’t have what it takes, it’s okay. Every new project leaves a writer feeling like that, but we know what to do. We make a plan, tap into our unique strengths, and then take it word by word. Just take it word by word.

Footnotes