While the process has been exceptional, the learning curve has been a true joy. You can’t say that about every new job, but in my case, I’ve never been more excited to discover what I don’t know.

That being said, I want to share a few insider tips from the agent’s side of the desk after a whopping two months in this role! (Will this change in the future? Maybe! And if so, I’ll update you!)

From the Agent’s Side of the Slush Pile

Have you ever queried and wondered what the heck takes so long? Why do agents take for-freaking-ever to do anything and everything? I’ll tell you why. The volume of incoming work is staggering. Staggering. Yes, the volume of submissions that come in is incredibly high, but the job is about so much more than reading and evaluating submissions. Let’s look at the numbers:

This is a labor-intensive process

In December 2025, I received 1,262 queries in QueryTracker. Let’s say I took no time off in December and worked 40 hours per week and prorated the last week of that month to about 180 working hours for the month of December.

If I spent only five minutes per query, that would mean I spent 105 working hours only on submissions in that same month. No income generation. No editing. No progress. Just reading and responding to queries.

Many queries exceed 500 words (which is non-standard but very common) so reading the 500+ word query, checking the author’s socials, website, or other links to their work, and reading five sample pages can take far longer than five minutes. There will also be submissions I reject simply because the query letter revealed something significant about the work and I know I would not be a good fit for that book. Even if I can save SOME time off the 5 minutes per submissions, it’s not likely I can read faster than 1-2 minutes.

Many submissions require thought and analysis, and that in many cases will mean far more than 5 minutes of time.

I’m not a math major, but reading submissions is a labor-intensive process. The longer I am open to submissions, the more regular communications I receive from authors. Authors will receive offers of representation from other agents or offers of publication from small presses and that may change the timeline I have to do review the work. I also have to spend time reading and responding to those emails.

No wonder it takes many agents months to keep up/catch up on their queries. This doesn’t even factor in full manuscript requests or meetings! I would never use any kind of AI to make this process faster, so when authors are waiting in my queue, they really are waiting for me!

If you add full manuscript requests to the pile, just managing incoming submissions is a more than full-time job.

Pitching a book is an art unto itself

Now I understand why authors have to put so much work into the query letter and pitch to even get noticed by agents. Agents MUST be able to do that exact work to pitch a book to a publisher, but with a depth and complexity that is very, very different.

If you as the author can’t “sell” me on your book in the query letter, it’s likely there are pieces missing, the premise is overly complex, or there isn’t a highly commercial pitch in the novel.

But isn’t pitching the agent’s job and not the author’s? Not exactly. The pitch that I have to create to make you, your book, and your career look like a worthwhile investment to a publisher is a long more complex (and longer!) than the query letter and one-sentence pitch you provide. If you don’t have a compelling pitch, it’s just too easy to pass on the book—even if it’s really good!

Many novels are not commercially viable

This last one is tough, and it’s why comp titles are such a critical part of the query letter. Long before I self-published my massive zombie serial on the Kindle Vella platform, I queried a much shorter novel version of the book. I got lots of rejections (mostly because zombies), but I also had some serious interest from my dream agent. She kept the full manuscript a year and then passed, ultimately telling me that she knew the book wasn’t quite there yet and that the voice was great and the horror haunting!

She was kind enough to explain that she didn’t know exactly how to guide me to fix the novel, and so she decided to pass on it. Knowing what I know now, I realize what a huge gift her feedback and even the time she spent on a full MS was.

The reality is that part of what will make an agent effective at their job is matchmaking acquiring editors to projects and then pitching successfully to those markets. If no one is buying zombie novels, then I might have written the most brilliant zombie novel in the world, but an agent can’t take on work they do not believe sincerely (and I’d argue passionately) believe they can sell!

That’s why it’s so important to be clear about your genre, your sub-genre, and your niche, and why every author needs to read deeply within their genre. Write to the reader’s expectations—not only to what your imagination can dream of. I’ve seen so many thoughtful and complex submissions—many of which I did not think I could matchmake and pitch to a publisher successfully.

CRAFT, CRAFT, and MORE CRAFT

The basics are never more critical than when you’re querying. An indie author’s readers might be more forgiving, but the trad-published author needs to understand stakes, point of view, external conflict, and story beats and make those aspects of the novel sing from the pages. Great premise but slow start? It’s far too easy to pass. Interesting universe, but stakes too low? I’m already onto the next.

Rejections feel personal, I know! But I promise they are not!

Workshop Schedule

If you’re writing a romance novel and don’t plan to query me, you may be interested in taking a private romance writing workshop with me! I run these about once per year and I’m accepting applications now for a group that will start on Tuesday, March 3. Here are a few details that you’ll want to know:

• The course runs 10 weeks, but it’s all self-directed/asynchronous, except for Zooms every other week which are optional (but encouraged!) The Zooms are recorded so you can watch the replay.

• You will receive weekly accountability support and every other week deadlines (5 submissions total) over the ten weeks. You can expect to write or submit up to 25,000 words over the ten weeks and you will receive substantial feedback/editing from me on each submission.

• I use a private platform for workshopping, Zooms, learning materials, and discussions with your peers, which you will have access to for the duration of the course.

• The class size is limited to six students and the curriculum is tailored to the students who enroll. If you want to cover querying or self-publishing or marketing, we’ll include that content along with what’s already planned.

The cost for ten weeks is $960, and you can break that up over payments.

If you’re writing a romance novel or a romantasy and think a workshop could kick-start your draft or help you finish your book, email us at info@book-genie.com and we’ll send you a schedule and chat through your book, your goals, and any questions you have.

Have a question about querying, craft, or anything publishing related? Ask me anything! I’d love to hear from you! Happy writing!

This is a huge pivot in my business life, but here’s the inside story of why/how and why now.

2018 was a Turning Point

As you might know if we’ve chatted in past, I started my publishing journey as an acquiring editor in 2011. I content edited everything I acquired. While I worked primarily in romance, by February of 2015 when the publisher I was running (I was promoted to acting Managing Director in 2014) closed due to the illness and eventual passing of the company founder, I was acquiring and editing in every genre.

After that publisher closed, I freelanced with a number of other trad publishers as a content/developmental editor and acquisitions editor, and opened my freelance practice working with clients. I also started teaching and have continued a really amazing practice of editing, teaching, and also ghostwriting since 2015-2016.

In 2018, I reached out to a literary agency I knew repped a lot of wonderful romance authors and was offered a job interview. In that interview, I learned three things:

1. That at least on paper, I had the skills and experience to become an agent. (Whoo-hoo!)

2. That agents earn $0 base salary/benefits, and it generally takes 3-5 years of actively acquiring to earn an income from sales. (Yikes.)

3. That many agencies require a 40-hour per week commitment to the agency in the form of editorial support, admin work, etc. (Ohhh no.)

Suffice it to say for an adult who supports herself, that business model was a non-starter for me. But I never gave up the dream of being an agent, and continued to work with my private clients to understand the publishing market in the hopes that maybe someday the right opportunity would come around.

The Right Opportunity Came Around!

And here we are, nearly 7 (8?!) years later and the opportunity at Martin is a dream. I’m permitted to support the agency’s efforts as much/as little as time allows, and I can continue teaching, editing, and ghostwriting. That means, in full transparency, that I can continue to earn an income while I build an agency portfolio.

I thought I was living the dream before, but now? I get the best of all worlds!

What Does This Mean for My Indie Clients?

Absolutely nothing! If you’re an author who wants to stay indie, you can hire me for consultations, marketing, editing, etc., and nothing changes at all. Status quo!

Since there are many genres I will not represent, and many books that are not going to be a fit for the traditional market, if you’re an indie author, carry on! And I hope to see you in my inbox someday!!

If You Plan to Query Me

Thinking about trad publishing? At the moment, I’m only actively pursuing romance and romantasy, horror, mystery, thriller and select fantasy (no grimdark, no sci-fi.) All adult, no YA at the moment. I’m open to some upmarket fiction, but my appetite there is very limited. I do plan to pivot into more spaces over time as I develop relationships as an editor. (I am so excited to look at narrative nonfiction and true crime, but not yet!)

If you think you have a novel you’d like to query, please use this link to query me via QueryTracker.

Query Jeanne on Query Manager

What Does This Mean for Book Genie!

The good news: nothing bad! We’re still here working with authors who want to prep for querying (other agents, not me!) and self-publish or publish with a small press. We can still build websites and help with marketing. I will still teach at UCLA, Stanford Continuing Studies, and privately, but know that if you plan to query me, I cannot work with you privately through Book Genie. (You may take classes I’m teaching at another university, but know that doing so in no way impacts my likelihood of acquiring your work!)

I’ll continue to share craft-related articles here and announce opportunities to work with me as well as pitch events. If you have writer friends, please feel free to share this Substack so they know how to find me, my agency wishlist, and other content that will be helpful over the coming months.

Share Book Genie

Thank you so much for being part of the Book Genie community. We’re not going away. We’re adding a wheel to the bus so we can transport even more authors on this ride and bring great books even closer to their dreams.

Questions? Concerns? Ask me anything! Happy New Year, happy writing, and happy publishing, friends!

I’m still glowing after an amazing trip up to Stanford to teach an on-campus course, Author Blueprint: Pathways to Publishing. We talked about author business plans, and what it really means to understand where your book belongs in the market. (And how to know if it’s not quite there yet.)

We built strong pitches and talked about why, yes, as hard as they can be to identify when you’re finally finished with your novel and ready to go on submission, comp titles in a query do matter.

Horribly awkward selfie aside, can we take a moment to appreciate the amazing chalkboard in my classroom? It was anchored on sliders! This vertically challenged person who definitely is in her comfy-shoes era could not have been happier. Modern classroom tech is something else. I love my Zoom sessions, but I relished covering every inch of that chalkboard and seeing faces in real life!

Publishing is Changing…For the Benefit of the Author

This year has been full of changes in publishing. We’re seeing self-published authors continue to forge paths to sustainable careers while traditional publishing grows more agile. Sourcebooks has cracked the Big Five in total units sold, and part of that strategy has included bringing successful indies into trad spaces.

I don’t think this is just the optimist in me talking. I really believe there has never been a better time to be a career author.

In some ways, yes, the burdens have shifted. When was the last time you heard an author received an R&R (revise and resubmit) invitation from an agent? I’m sure they still happen, but the competition is so stiff and the number of great storytellers in the market is so high, authors increasingly need to hire private editors and take courses or workshop their unpublished work to deliver a ready-to-publish product if they want to see traction in the trad market.

This isn’t inherently a bad thing, but it does make the timeline to sustainable income longer for authors and the price tag attached to building an author career more expensive. I’m an editor and teacher at heart, so I recommend what I always do for authors: read, study, learn.

The author blueprint: read, study, learn. Then write and write better.

Occasional Home Cooking Doesn’t a Chef Make

If that means taking a course or hiring an editor, get recommendations and testimonials. Spend your money wisely and treat every penny you spend like an investment in your long-term author career. You might get more out of a one-hour coaching session with a content editor than a ten-week class. You might learn a career’s worth of lessons with one in-depth content edit. There is no “one-size-fits-all” strategy to publishing success, so be honest, dig deep, and source your tools.

Once you’re widely read in the genre you want to publish in, there is no substitute and no shortcut: You’ve got to write, write badly, revise, write more, write better. I really believe that writing is like any physical activity. You cannot get great at it if you only do it once in a while. A brilliant chef doesn’t make flawless, delicious, and memorable meals by scrolling food blogs and cooking a meal from scratch every once in a while.

A great chef is a fan, an engineer, and a lifelong learner—always trying, testing, tasting. Whether you’re cooking up pizza, sushi, steak, vegan cuisine, pastries or cookies, how long will you study your craft, practice, and share samples with friends and family before you’re ready—really ready—to open a restaurant?

That’s really a huge component of the Author Blueprint: What do you cook in the pages of your book? Who is it for? What do you know your ideal reader wants and how effectively does your book deliver on that? Are you a hobbyist author or working toward a career? Both are great! No shade to either, but a sustainable career isn’t a hobby. You’ll need time, a business plan, and some really, really great books.

And then, once you have the draft complete, does your pitch convey that you know your reader, the market space you’re writing in, and how a publisher can profitably sell your book?

Sample Pitches

That leads to the heart and soul of selling your book: the pitch. Which of these would you be more excited to read?

What would you do to your enemy if it meant saving your business and healing your heart?

or this:

A Wednesday Addams-esque love potion maker/cynical couples’ therapist opposed to all forms of magical manipulation must make her rival fall madly in love with her in order to create a rare hatred-to-love elixir that will save her failing business.

This isn’t my client or project, but examples of really great pitches are in almost every deal announcement in Publishers Marketplace:

The first example is like a home-cooked meal: edible but forgettable. Sustenance, sure. But which pitch would you get excited to pay money for the experience? The first example touches on some vague but relatable aspects of the romance genre; the second pitch nails who the book is for, what it’s about, the stakes, the characters, and the conflict—in one pretty concise sentence. Your Author Blueprint might start vague and unsteady, but you can learn, grow, and make a heck of a terrific career out of writing.

Let’s Make Pizza in 2026

As you head into the close of 2025, what are you reading? Writing? Doing to develop your author business? The Book Genie crew is hard at work. We’re teaching classes, holding workshops, and we’re open with limited availability over the month of December if you’d like to schedule a Zoom for accountability, coaching, or business planning.

Now Enrolling Romance I at UCLA Extension

Enrollment Opens 12/1: Love and Lore-Romantasy Writing Workshop at Stanford Continuing Studies

This winter, I’ll be teaching Novel IV at Stanford and two romance-writing classes, so if you’re thinking a group environment, lectures, and feedback on your assignments is right for you, I’d love to see you in class. (No chalkboard this time around. I’ll see you online!)

Some Books that Had Me Up Late This Fall

I read a lot this fall, and I have to recommend a few.

The Blonde Identity by Ally Carter is a spy romance with action, heat, and a ton of laughs. I’ve had this author on my TBR thanks to author and I’m so glad I finally read this one!

I love Simone St. James and her paranomal horror/thrillers, and The Sun Down Motel was fantastic! Great spook season read, but not as scary as Murder Road.

I’m a fan of horror and thrillers, and Don't Open Your Eyes by Liv Constantine was a solid read. I enjoyed the plot twists and turns, but the tension was a little lower than I would have liked. Still, I’ll read this author again and I was not disappointed.

In honor of spooky season, I also read Bird Box by Josh Malerman, Suicide Forest by Jeremy Bates, The Lost Village by Camilla Sten, and Overgrowth by Mira Grant. These were all far less scary than I’d expected but solid reads.

Mia Sosa’s When Javi Dumped Mari and Maria Vale’s Molly Molloy and The Angel of Death were unexpected delights (Mari made me laugh out loud and Molly made me cry!)

Have a great Thanksgiving if you’re reading this post in real time. And happy writing, editing, and publishing, my friends!

To Auction or Not To Auction

Auctions in publishing seem like lotto tickets—exciting windfalls of cash! A frenzy of excitement for your book! But there are some really practical considerations to take into account when evaluating any publishing opportunity. And while auctions feel flashy and exciting, after you ride the high, it’s time to get down to the nitty gritty and think long-term. Here are three critical questions to consider before making an publishing decision about your book, but especially if you’re thinking of leaving your fate to the outcome of an auction.

1. Your Editor

   I know so many authors whose publishing careers got derailed simply because their editor left the imprint. Losing your editor doesn’t mean you lose your book deal, but a change in staff can mean you find yourself working with an editor who didn’t acquire your work and is far less invested in its success than their predecessor. You may even find that your new editor isn’t the champion your first editor was or that the new editor is far less experienced.

   Book Genie is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. 📝

   While you can’t include terms like editing staff and editorial continuity in your publishing deal, when you’re considering a publishing offer, ask how long your editor has been with the company and specifically in that role within that imprint. If an editor has been on the job 20+ years, they may be more stable than someone with only two years in the role. The opposite may also be true. This is where your literary agent will earn their keep. Your agent should have insights into the imprint and the editor and should offer not a guarantee—no one can give you that—but an informed opinion about the best choice for your career—not just for one book deal.

   If your book goes to auction, you won’t be able to pick and choose the editor. When the best offer wins the contract, you’ll be working with whoever is on the other end of the editorial pen. With a contract you negotiate with just one publisher, you may have less dazzle and flash but more editorial certainty.

2. The imprint

   All imprints are not created equal. Think about Entangled Publishing. In November of 2022 they announced the formation of Red Tower Books. Why? Their bestselling romantasy/paranormal romance was previously published primarily under Entangled Teen. Part of the package an attractive publisher presents to an author is an imprint that has the vision, staffing, marketing plan, and community of peers that fits the direction an author wants their career to go. While Rebecca Yarros certainly could have released her runaway success Fourth Wing under Entangled Teen, as the inaugural release for Red Tower Books, Fourth Wing had marketing support, a massive budget and PR strategy, and releases from other authors whose primary consumer was not, in fact teens, but adult romantasy and paranormal romance readers.

   When considering an imprint, look at the authors who have published in the last 2-3 years within that imprint. What success have those authors experienced and how much of the labor was taken on by the imprint? Is there a Discord or Slack community where authors can connect and commiserate? What access to PR support is provided? If you throw your fate to the outcome of an auction, you may end up with more money but fewer perks—and the perks at an established or highly attractive imprint might prove far more valuable over the long run of a career.

3. Payments!

   I’m not just referring to the advance here. In an auction, most publishers will offer their most competitive package. That package may include specifics such as release dates, compensation rates for sub rights, and the deadlines or actions that will trigger payment of the agreed-upon amounts. For example, you may not see a penny of an advance until your book is “accepted” into a certain phase of editing. You certainly will not see 100% of a deal paid up front, as publishers will often break up payments over the life cycle of the book’s production. (For example, paying a percent on signing the contract, another % upon completion of edits, and so on.)

   In an auction, because the publishers are putting their best offers forward, you may not have an opportunity to negotiate individual terms of an offered deal the same way you would by negotiating with a single interested publisher. And remember that even if the advance seems huge, after your agent takes their commission (most agents hold all funds in trust on behalf of the author, so your agent will be the one sending you the percent of the funds that are owed to you, often on a built-in schedule that can be 60 or even 90 days after they receive the funds from the publisher) you may see those payments spread out over 1-2 years or longer. When you negotiate a deal with a single interested publisher rather than going to auction, you may have more flexibility to negotiate more favorable, faster, or shorter payment cycles.

There are so many things to consider once you’re in the position of contemplating a book deal. Yes, it’s exciting to have an offer at all, but remember that each contract is a step on the path of your career as an author. One misstep won’t likely derail you completely. But mistakes can can time, money, energy, and creativity—things no author wants to lose.

Fall Enrollment is HERE!

I can’t even believe it’s already almost fall, but the courses I am teaching at Stanford Continuing Studies and UCLA Extension are not only already open for enrollment, but several sections are already closed! If you’re interested in taking an adult education course, there are still spaces open in my Be Your Own Developmental Editor course for writers and my Freelancing for Editors course:

Be Your Own Developmental Editor

Freelancing for Editors

There are a few spaces available in my writing courses, but by the time this newsletter goes out, the writing courses might be full! Feel free to comment or message me if you have any questions about anything, and please browse the course catalogues. Both UCLA Extension and Stanford Continuing Studies have some amazing courses on the schedule taught by amazing and passionate professionals. If you’re a writer, consider an editing course to deepen your skills. If you’re an editor, you should absolutely study craft from the inside out so you understand novel construction or nonfiction from the perspective of your clients’ experience. Fall is the season for getting down to business for writers and aspiring editors!

New Release News!

We want to send our most heartfelt congratulations to author Stacey H. Rubin on the release of her novel, The Baby Nurse, which is currently ranked #1 in Medical Thrillers on Amazon!

The Baby Nurse is part psychological suspense, part women’s fiction, and completely captivating. The reviews are outstanding, and we couldn’t be more excited that this fantastic book has found a publisher that saw the potential in this genre-bending thriller that we did. This new release is available on Kindle Unlimited, audio, and paperback.

Congratulations, Stacey! We’re so, so happy for your success!

YOU ARE THE BEST!

One of the best parts about working with people is learning so much about my clients’ talents. This summer I was gifted an absolutely incredible and stunning hand-made mug by a brilliant writer. And another amazing client PAINTED ME A PICTURE!!! I was blown away. Not only are these wonderful humans incredibly talented writers and caring people, but creative beyond the pen.

I’m so grateful every day to work in this industry. When I was a young professional juggling a day job and editing and teach on the side, I never could have dreamed that I would be working (more than!) full-time doing what I love with people and books that inspire me so profoundly. I want to sincerely thank you—subscribers, students, clients, friends—for being part of this work with me.

How is your writing going? Have you been able to be productive this summer or are you looking forward to fall, back to school vibes, and cooler weather to get back to. the word count? If I can help, share resources, answer questions, or provide information, please ask. I’m happy to write articles, resources guides, or share what I can to ease the path forward. We’ve got gorgeous new courses and workshops underway, so feel free to let us know what you need and we’ll make it, bring it, do it!

Happy (almost) fall! Stay healthy and safe, friends!

If you’re struggling to launch your novel in the trad space or if your self-published novels aren’t resonating with readers the way you want, join us on YouTube. I’ll be the guest of the fantastic self-publishing guru and YouTuber extraordinaire, Dale L. Roberts. Subscribe and do all the notification things so you don’t miss anything!

I’ll give you some specific examples of what you can do to self-edit your book today so you avoid the pain of the pro forma rejection or the dreaded lukewarm sales numbers. If you’re considering hiring an editor, these are steps you’ll want to take before you submit an underperforming draft to save yourself time and money. Why prepare your manuscript for editing if you’re going to pay a pro? The same reasons! You can pay me to start from the very beginning of the process, or shortcut both my time and your costs by self-editing for structure, pacing, arcs, and voice—some of the key essentials that will sell your book by a certain page count or will have you on the receiving end of the polite but nondescript no.

I love sitting down with Dale and getting into the weeds, so I hope you’ll join us, chat us with any questions you have real-time, and apply some of the techniques I use to help clients while your book is still in progress.

Self-Publishing with Dale

So, you've decided to publish a book! Congratulations! There's no other feeling like it. Stick around, I've got you covered from the first word until the first sale and beyond! 📚

By Dale L. Roberts

There has been so much great news coming in from the Book Genie community: authors signing with agents, finished drafts going on submission, new breakthroughs on genre and craft, and even new pen names. But along with the positive, my inbox has been overflowing lately with a lot of the same questions:

I keep hearing the same feedback from agents, but I’m not sure what it means. Can you decode this rejection? What do I need to change about my book?

And even more heartbreaking:

My agent keeps receiving the same feedback from editors, but we haven’t talked about substantially revising the book. Based on what we’re hearing, what do you think we should do?

Unless you work with authors across genres and platforms (trad, indie, and hybrid), it might be difficult to contextualize “pro forma” feedback. Polite but non-specific rejections like, “I don’t think I’m the best advocate for your work,” or, “As much as there is to love in this piece, I didn’t resonate with it the way that I’d hoped,” can leave an author feeling confused about what exactly is wrong with their book.

The truth is that it is rare to receive specific feedback in today’s market. With the volume of submissions both acquiring editors and agents receive, it’s simply not a sustainable business model to provide editorial feedback on work that isn’t an immediate and obvious yes. Simply put, a no is a no, and it’s up to the author and maybe their agent to figure out what to do with a book that’s facing one closed door after the next. But you’ll find not even all agents take an editorial approach to their job; sometimes the easiest strategy for an agent to manage a broken book is to move on to the next and hope for better results.

That is also a business model for agents who take a more hands-off approach. How can an agent make money if they are paid on commission and they are spending months, maybe years navigating a book through revisions? They can’t! If you’re in this position, your agent might urge you to move on to the next project rather than spin your wheels on one that seems stuck in the mud. But have you really learned anything? How do you know you won’t make the exact same mistakes and have a second book suffer from the same problems and stall out on submission?

The work I do with authors not only decodes what these unclear messages mean, but I offer actionable revision plans to fix the book, the query, or even simply the pitch.

If you’re struggling to launch your novel in the trad space or if your self-published novels aren’t resonating with readers the way you want, join me on Monday, July 21, at 6:15 p.m. EST on YouTube. I’ll be the guest of the fantastic self-publishing guru and YouTuber extraordinaire, . Subscribe and do all the notification things so you don’t miss anything!

Want to Save Time and Money on Edits? Join me LIVE with Dale L. Roberts Monday, July 21 on YouTube!

I’ll give you some specific examples of what you can do to self-edit your book today so you avoid the pain of the pro forma rejection or the dreaded lukewarm sales numbers. If you’re considering hiring an editor, these are steps you’ll want to take before you submit an underperforming draft to save yourself time and money. Why prepare your manuscript for editing if you’re going to pay a pro? The same reasons! You can pay me to start from the very beginning of the process, or shortcut both my time and your costs by self-editing for structure, pacing, arcs, and voice—some of the key essentials that will sell your book by a certain page count or will have you on the receiving end of the polite but nondescript no.

I love sitting down with Dale and getting into the weeds, so I hope you’ll join us, chat us with any questions you have real-time, and apply some of the techniques I use to help clients while your book is still in progress.

Get Hot with Teacher!

I met the hilarious, brilliant, and talented comic, writer, and romance reader Becky Feldman years ago at The Ripped Bodice Bookstore, and since that time she’s been one of my favorite people to talk to about any thing, any place, at any time.

When Becky invited me to answer all her burning questions about romance writing, I threw on my Read Smut T-shirt, flew to my desk, and pressed record. (Well, Becky did all the hard work of recording and editing… I just joined the room!)

What resulted was a thoughtful and honest, hilarious, and really loving discussion about the genre that gives so much to its readers. The episode is live today on all podcast channels, and I hope you’ll give a listen to me and Becky working through concepts of learning to do something that is fun but also really technically demanding, how to get better at craft and stay passionate about story, and also why I didn’t have T-shirts made that say “I teach smut at Stanford.”

Follow Becky and her review of romance novels on Podcast (a lovingly humorous nod to the TSTL trope) here on Substack, too!

Other Updates!

The summer has flown by and we’re gearing up for a new series of private workshops and a very special new on-demand course. Looking for monthly feedback, accountability, Zooms, and robust hands-on editing? Let me know or stay tuned to this space for announcements when enrollment goes live!

The summer has been a wonky one! Work has been fantastic and very busy, but between a bout of Covid (I thought that was really a thing of the past…nope!) and the general busy-ness and recovery of life in Los Angeles, Book Genie has hardly blinked and now it’s July!

Some of the books I’ve been reading that have had a huge impact on me so far this summer include a nearly perfectly crafted romance by Tara Tai, Single Player.

Two video game creators go head-to-head in this delightful, queer enemies-to-lovers workplace romance debut, perfect for fans of TJ Alexander and Helen Hoang.

Cat Li cares about two things: video games and swoony romances. The former means there hasn't been much of the latter in her (real) life, but when she lands her dream job writing the love storylines for Compass Hollow—the next big thing in games—she knows it’s all been worth it. Then she meets her boss: the infamous Andi Zhang, who’s not only an arrogant hater of happily-ever-afters determined to keep Cat from doing her job but also impossibly, annoyingly hot.

As Compass Hollow’s narrative director, Andi couldn’t care less about love—in-game or out. After getting doxxed by internet trolls three years ago, Andi’s been trying to prove to the gaming world that they’re a serious gamedev. Their plan includes writing the best game possible, with zero lovey-dovey stuff. That is, until the man funding the game’s development insists Andi add romance in order to make the story “more appealing to female gamers.”

Forced to give Cat a chance, Andi begrudgingly realizes there’s more to Cat than romantic idealism and, okay, a cute smile. But admitting that would mean giving up the single-player life that has kept their heart safe for years. And when Cat uncovers a behind-the-scenes plot to destroy Andi’s career, the two will have to put their differences aside and find a way to work together before it’s game over.

The book is perfectly crafted in terms of structure, pacing, and beats, and the nods to gamers, fandom, and romance novels are respectful, hilarious, and un-putdownable. This was a 5-star plus read for me, and I highly recommend even non-gamers pick this one up. Loved!

I’ve started and stopped or finished but didn’t gush over a lot of horror and thrillers this summer, so the only rec I’ll make right now is Single Player. Check back with me soon, though, because my summer TBR is LONG!

I’m relentlessly (but adorably?!) annoying the people in my life by humming every song from Kpop Demon Hunters (which, if you have not seen it, don’t get me started… Trust me!)

If you’re a poetry fan, it would be impossible to miss the passing of nonbinary poet laureate of Colorado, Andrea Gibson, this week. Whether you heard their spoken word poetry on social media or read their work, to encounter their writing is to feel the power of life, the poignancy of loss, and the passion of love in every form. Their writing, voice, and poetry are freely available in excerpts on social media and YouTube, so if you need a soul boost, a brain kiss, or even just a moment to breathe in beauty, catch some of what this brilliant soul has left behind for us.

Stay well, be in touch, and keep writing! I’ll be hoping to chat with you real-time on Monday, 7/21 when I’m hanging out with Dale!

And thank you, Becky Feldman, for an absolutely fantastic time on Too Stupid to Live, A Little Extra Spice Edition!

Conference Appearance

At the end of March, I attended The AWP Conference here in Los Angeles with the UCLA Extension staff and some of my fellow instructors. I connected with future students and was thrilled to run into some past students as well! One student in particular, , has completed her studies and is building an amazing editing practice—and she’s on Substack! Thank you so much to Pam for stopping by to reconnect and prove that changing your life (and your career) is a dream come true if you have the passion and commitment.

New Release Alert!

In other happy news, just this week Noel Stark (@noelstarkauthor) has released her debut romance Love, Camera, Action with Penguin Random House! (If you want to support alternatives to Amazon, you can buy at the link in this post.) I read an early version of the novel and knew Noel had an amazing author career ahead of her. Congratulations, Noel!! I can’t wait to hug you and get my copy signed!

A scrappy TV director lands her big break only to go head-to-head with the surly yet sexy director of photography, in this page-turning romance perfect for fans of Ava Wilder and Tessa Bailey.

Up-and-coming TV director Cali Daniels knows sex. Well, okay, she knows how to shoot sex scenes, and she’s been hired to direct a highly anticipated steamy episode of the popular series The Demon. This job is her chance at a big-time career in the film and television industry—all she has to do is deliver an unparalleled show using her hard-knock know-how and ample creativity.

If only the director of photography—effortlessly sexy Jory Blair—would stop shutting her ideas down at every turn. Jory has spent years cultivating his career as an A-list director of photography, but a recent health scare has him rethinking his life and craving the director spot. Now this creative newbie, who he can’t get out of his mind, wants to change the look of his show. Even worse, the friction between them is sparking into blistering chemistry.

As collaborating takes on a whole new meaning, and the show’s producer not-so-subtly suggests that Jory sabotage Cali in order to achieve his own goals, they’ll have to decide if chasing their dream jobs is worth losing the dream of a future together.

Fans of How to Fake It in Hollywood and Plot Twist will devour this steamy, enemies to lovers, workplace, debut romance.

Line Editing Tip: Why Passive Voice Isn’t Always a Bad Thing

I’m teaching a big crop of aspiring editors this spring, and one of the issues that routinely pops up is a question about the use of active and passive voice. While copyediting focuses on technical edits—correcting grammar, punctuation, and formatting—line editing is far more subjective.

One aspect of line editing, which I sometimes lovingly refer to as low-hanging fruit, is revising passive voice to active voice. You probably know passive voice when you see it; a big clue that a sentence is written in passive voice is the use of a to-be verb. Technically, passive voice structures a sentence so the actor, or the focus, of the sentence is the object of the verb instead of the subject. A simple example of passive voice is: The ball was thrown by Tom. Revising this sentence would mean changing the sentence so Tom is the actor rather than the object of the verb. Easy peasey: Tom threw the ball.

But I call passive voice low-hanging fruit because, yes, it’s easy enough for a line editor to pick out passive voice. Look for those to-be verbs and swap them out. Job done, right? Well, yes. But are there times when passive voice is not only intentional but effective?

Absolutely, yes.

Consider this example: The library, like almost every community space, lost its funding in the last round of budget cuts. Unlike some of the other impacted facilities, the library is heavily relied upon by senior citizens and students—two populations proven to suffer when freely accessible public services are cut.

I chatted with an editor recently about changing the passive verb phrase is relied upon to an active verb. The editor suggested that the sentence could be stronger if the verb phrase was changed.

This is why I call passive voice low-hanging fruit. If you’re looking for changes to make, sure. You could point the finger at “is relied upon” and think it would be simple and effective to change that to relies upon. But consider the context. First, we can’t just change the subject of the sentence to senior citizens and students; we would create a new error! Here’s why:

Unlike some of the other impacted facilities, senior citizens and students heavily rely upon the library—two populations proven to suffer when freely accessible public services are cut.

See what happens when we just change the passive verb to active? Now we have not one but two dangling modifiers! The clause that begins with unlike no longer modifies the noun that it’s supposed to provide information about—the library! And the adjective clause that should modify the populations is now close to the library, not the populations.

Unlike some of the other impacted facilities, senior citizens and students heavily rely upon the library—two populations proven to suffer when freely accessible public services are cut.

In this case, context, message, and the overall construction matters. Yes, Line Editing 101 wants to find and improve on passive voice. But only when passive voice weakens the impact or damages the meaning of the sentence! The ball was thrown by Tom is an inversion of logic. We expect an actor to perform an action, much like we expect to see a cause before the effect. That’s why passive voice in Tom’s case is less impactful and more distracting than simply saying Tom threw the ball, which is simple, clear, and unambiguous.

When you’re writing, it may make more sense and result in better self-editing if you look at your sentences with that cause-effect or which comes first anaylsis. Characters should open doors before they walk through them; Tom should throw the ball. But don’t fall into the trap of picking low-hanging fruit and changing all the use of passive voice while inadvertently making other mistakes or creating other problems in meaning! Sometimes, passive voice is the right choice!

Courses, Workshops, and Book Genie Doings

You can find me all over the place in the coming months! I’m just about to start a private 11-week romance writing workshop. I only have 1-2 more spots open, so if you’re interested, please fill out of the form below and I’ll save your space.

Join the Workshop

I’ll be teaching editing classes at UCLA Extension and romance writing at Stanford Continuing Studies this summer. Enrollment for summer term opens in May and my romance-writing class filled up 48 hours after enrollment went live for winter session, so if you’d like to join me at Stanford this summer (virtually, of course!) please make sure you enroll early.

I’ve been added to the permanent staff in the Novel Certificate Program at Stanford Continuing Studies, so every winter I’ll be teaching Novel IV to students completing their last course before graduating with their certificate. I’m beyond excited to work with students writing in all genres, including literary fiction at Stanford. It was a ton of work this past winter, but so much fun to see such diverse authors pursuing their dreams.

My private client roster has a few openings left for summer-fall, and I have to say I’ve been fortunate to take on some of the most interesting projects this year. Romance, of course, which has my heart and soul, but I’m working on a scholarly project right now that relies on the Oxford English Dictionary instead of American spellings. It’s a true labor of love—emphasis on the love and not the labor! Other clients are writing thrillers, upmarket historical fiction, and upmarket book club fiction—genres I adore and work that keeps me (happily!) up late reading.

I’m also copy writing for a client in an industry that is somewhat new to me. I’m having a blast learning AND writing something that isn’t fiction! How are you? What’s got you excited and writing this spring? Thanks so much for reading! Let me know what craft-focused articles you’d like to see in the future. I’m thinking about going a bit deeper into line editing as a self-editing skill. Let me know what you think!

And since no update would be complete without a humiliating picture, here’s me at the Sloomoo (a slime adventure experience) at The Grove in Los Angeles with my nieces on their Spring Break. Yes, I got slimed. And yes, I loved it! That insane smile is genuine!

Somehow I blinked, and we’re staring down Spring! Work has been wonderful the last ten weeks. I’ve juggled a full load of writing students at both Stanford’s Continuing Studies Program and editing students at UCLA Extension while also managing some private client work and ghostwriting. (Phew!)

They say if you love what you do, you’ll never work a day in your life, and I can tell you that I have never been more honored, excited, and inspired than I was working with the writers and editors I met this winter. Teaching Novel IV and Query/Submissions Prep, I met students across the genres and read literary fiction, historical fiction, and genre fiction that included mysteries, the AIDS epidemic, and journeys that had me dusting off my copy of Moby Dick! My romance writing students blew me away… So much so that since I’m not teaching a general romance writing workshop this spring, I decided to open up a private workshop that will open in May! Details on that below.

Spring Schedule!

It’s always a fun challenge to juggle classes I’m teaching, client work, and you know, keeping the apartment clean, but the next terms at UCLA and Stanford are shaping up to be fun. I’ll be teaching, editing private clients, ghostwriting, and (thanks to those who nudged me and shared they wanted this!) opening up a private romance writing workshop. While I was on the road, Michael Lee built me a new school platform to replace the old Romance Writing Academy site that sorely needed a refresh. That means I have a new beautiful platform and can open up more direct-to-student courses and workshops on both writing and editing. While my practice is open to almost any genre of work, romance has my heart quite literally!

If you’re interested in learning more about the 11-week workshop, feel free to click the button below and complete the interest form. If you have any questions, you can reach out any time and ask! If you have a romance novel simmering on the back burner, let’s move that work in progress up front and get you writing this spring!

Romance Novel Workshop Interest Form

Client News!

I headed to Chicago in February and exchanged lots of hugs and stories with Tod Lending over the book release of The Umbrella Maker’s Son. Tod remains one of the most wonderful humans, and I can’t believe how moving it was to celebrate the book release in person. The readers in the room sung Tod’s praises, so if you have not yet picked up this moving story, this is your friendly reminder to run to your local bookstore!

Romance author Katie Delahanty celebrated the release of her fake bridesmaid, destination wedding romance Waiting for a Girl Like You. If you love yacht rock and rom-coms, this is one case of a book that is actually better than the absolutely awesome cover! Congratulations, Katie!

Former romance writing student Teresa Christine shared the news that her small-town, found family, holiday romance (also with a wedding!) The Half of It released in March as well! Spring, love, and stunning covers are most definitely in the air! Congratulations, Theresa!!

In the nonfiction space, YouTuber and self-publishing guru extraordinaire Dale L. Roberts has released two new books in Feb and March. With all the changes in social media sites and on Amazon, I can’t tell you how many times I’ve recommended Wide Publishing for Authors over the last 3-4 weeks alone. It’s great to know alternatives for indie authors looking to publish wide, and no one breaks down the options better than Dale!

In personal news, I spent several weeks in Chicago and got a taste of freezing cold weather while Los Angeles got some much-needed rain. (Thanks to Michael Lee for holding down the Book Genie fort while I was on the go!) I’m back in LA feeling grateful for an end to the winter fires and every drop of water that falls on my adopted home.

Talented Friends and a Free Class for Children’s Book Authors/Illustrators!

I routinely receive inquiries about working on projects outside my areas of expertise, especially from authors writing children’s books or needing picture book illustrators. My amazing friend and fellow UCLA Extension instructor Aleesha Nash is now working with clients on a freelance basis. I referred one client her way and heard nothing but heartfelt praise for Aleesha’s insights, expertise, and talent. A Fred Rogers Writing fellow, Aleesha’s work speaks for itself. Check out her website and Linktree! If you need a children’s book expert, either on the writing or illustration side, please reach out to her or let me know and I’ll make an introduction.

And there is no better place to learn more about children’s literature than in a FREE CLASS! Aleesha is teaching a free class through UCLA Extension called The Art of Picture Book Collaboration. Check out the link and reserve your spot for zero pennies!!

Your Turn…

How have you been? Writing? Editing? What challenges are you facing in your creative work? The past few months have been unpredictable, and for many authors, revenue, energy, and inspiration is low. We’re feeling it too, but finding comfort and joy in our community of creatives. Need a class? A worksheet or tool? Comment below, reach out via email, or shout from the rooftops and let us know how Book Genie can help turn your wishes into books. We love what we do, and we want you to feel that love with every word, every page, and every publication. Stay creative and keep in touch!

I’ve been personally touched by the damage and destruction, but at the present time, my family is safe—as safe as anyone can feel under the circumstances. We have water, power, and a plan to evacuate if the warnings are upgraded to orders. For all of that, we’re grateful.

But once the documents are organized, bags are packed, the car is full of gas, what next? How can we focus on work and stay motivated and connected when literally the world is burning around us?

I tend to be a sunshiny optimist with a very realistic attitude. That leaves me feeling happy and inspired half the time and jaded and weary the rest. Sound familiar? I thrive on hope but am tempered by honesty.

Creative work is rarely easy. The publishing industry is a behemoth that many authors never crack. The worst things surprise us, hold us back, set us far behind in our plans. Even the mundane things of life—laundry, meal prep, errands—can feel more pressing and taxing than the list of things we need to do to build our creative business.

As a multi-hyphenate, I relate. There are days when I can’t rally the energy to put into word count. Then of course there are days when I am prepping for a client meeting and realize that this is really my life. I “get to” do so much amazing work and connect with so many amazing people. And then, of course, the trash needs taking out or the emergency alerts on my phone and watch go off.

This isn’t just a modern problem. Generations of authors sought refuge from the mad wheel of time spinning too fast, asking for too much. This article is personal. It’s not a simple list of SEO-pleasing Five Things To Do To Get Out of a Creative Slump. This is a personal message from me to you. From me, a person juggling the work of my dreams while the reality of my nightmares is taking place literally in my backyard.

How in the world, literally, how in this world, can any creative stay motivated and inspired?

The answer is simple and very, very short. Over the last few days when my mental load has been heavy, when air quality in my city makes it impossible to get the time outside with my dog that we both need, when my worries about skyrocketing rent and the loss of so much weighs so much it’s hard to imagine moving forward even one step, I found a source of comfort.

That comfort came from a book. Over the last few days I have obsessively listened to Nine Tailed by Jayci Lee. I live in Koreatown so the Korean mythology retelling, the subtle nods to Los Angeles and west coast life, and the unraveling of a century-old mystery were the perfect escape. The narrator of the audiobook, Michelle H. Lee, is perfection. She balances the many genders and natures of the characters’ voices with such nuance without ever overacting.

Nine Tailed is a romance, adventure, and retelling all in one, but there are aspects of the book that grounded me in ways I can’t fully explain. The ancient clothing on modern characters. The excellent descriptions of food. (There is so much great food writing in the book!) The horrors of the dark powers (the golems’ unitards and gruesome mouths haunt me in the best ways) and the peace and hope brought by family, community, and culture remind me of the very best parts of real life.

In the book, Sunny Cho tries to disappear, to hide in plain sight to escape her dark past. But in all great hero stories, she’s forced to come into her own, to find her community and a chosen family, and to understand her dark power, even if she was dragged kicking and screaming into grave danger.

In listening to the audio, I was able to escape the modern fires and pressures and lose myself. And then, at the end, came what might have been the most powerful message of the book. The author shared in a concluding Author’s Note how she wrote the book at a time in her life when she was suffering from depression and didn’t think she would ever be able to break into publishing in the ways she’d dreamed.

I think it’s important that we share not the pithy numbered lists of things we do to stay motivated, things we do to keep the writing flow going when the juices seem to run dry. I believe we need to share with one another how we’re really doing. How life has and is impacting us and our creativity. Only by being honest, vulnerable, and reflecting can we see that it’s never just me or just you. We’re truly never the only ones carrying heavy weight.

When the going gets tough for whatever reason, I hope you reach for a book. A paperback, on your phone, an audiobook—any iteration will do. As writers, books feed us and fuel us. They help us feel seen and understood. And when we wonder why we do what we do, why we struggle to fit creating something into our routine when it can be so much easier to stand at the sink and do one more load, we experience it: our why. It’s all right there in the books we read. The inspiration, the escape, the community, the hope.

If you’re safe and healthy right now, I hope you stay that way all year. If you’re not, I send you my heartfelt support and concern. This brand new year has been damaging, scary, and hard for so many. No matter what your life, dream, or circumstances are, rebuilding is lots of hard work. But you will never be the only one doing it. Look up, look around, and reach out. We are all in this together.

I wish I could promise you success and even more I wish I could offer you an easy path. So I want to share this: “it” happens every day. Whatever you want, whatever you dream of, it’s out there happening for people like you who have chores and stresses, who’ve lost everything and have to rebuild, who suffer and worry that none of the work really will make a difference.

I can’t promise you success, but I can hope with you, dream with you, and work alongside you every step of the way. Here’s hoping that we come together so that we can look back and remember that 2025 was the year that we didn’t give up, give in, or tap out—no matter what tried to hold us back. I don’t have a list for you, but I hope you’ll grab your favorite comforts and find your Sunny—Cho or otherwise.

For me, and many writer friends, the slower pace of the holidays allow us to read a little more, find a few extra minutes to write, and invest time just connecting with what inspires us.

Writing is a lonely process, and publishing—while amazing—is a difficult, slow process. As a business, publishing can be filled with setbacks, unexpected changes, disappointments and challenges. But to highlight what I love most about this business, I’d like to share some of the things I’ll be reflecting on as we ease out of 2024 and into a brand new year.

My favorite read(s) of the 2024

It’s almost impossible to pick just one favorite read of the year, but I’ve made a short list of the books that moved me, changed me, and delighted me this year.

1. Fire Keeper’s Daughter has all those stickers on the cover for good reason. Angeline Boulley’s debut novel is exceptional. A gripping mystery, an introspective journey, and an imaginative romance all in one, this book—written by a Native author about a Native protagonist—is one of my favorite reads of the year. If you can listen to the audiobook, you’ll hear some of the native words pronounced, and that beautifully enhances the reading experience.

   Not only is the book wonderful, the author published for the first time after a very long career. Anyone who worries their publishing journey is starting too late or launching too slowly needs to look no farther than this for inspiration.

2. All The Dangerous Things

   

   This thriller crafted such a poignant and complex picture of love, grief, and loss. I didn’t see the twists and turns coming and I devoured this thriller about a woman whose infant son goes missing—and who suspects she may have had something to do with his disappearance.

3. Murder Road by Simone St. James

   

   I’m very picky about paranormal reads. I’m not into anything too dark or demonic, but Murder Road takes a complicated protagonist, ghosts of both the horrifying and healing variety , and a twisty decades-old mystery to deliver a fantastic edge-of-your seat read. I still think about this book months after I read it, and recommend it as a masterclass in pacing for anyone who wants to write a thriller.

4. Persuasion and Recipe for Persuasion

Romance authors tend to adore Jane Austen, and there’s a special place in my heart for Persuasion. I re-read the book this year and shortly thereafter re-read Sonali Dev’s contemporary reimagining of Recipe for Persuasion, and I have to say these books together might have been some of the most satisfying reads of the year.

As classic literature, Persuasion is unbelievably timely and relevant, and I’m sorry, but the gold standard of Grand Gestures in romance has to be Captain Wentworth’s letter to Anne.

Sonali Dev’s homage to Persuasion is not a retelling as such, but that’s what makes the story so perfect and so brilliantly positioned alongside Austen. Dev’s Ashna and the complicated family dynamics that play out create a story within a story—to heartbreaking (and healing) effects. And thank you, Sonali Dev, for including a letter at the end as a lovely wink to Austen.

These are not *easy* reads, but whether it’s your first time reading Austen or your thousandth, I had an absolutely brilliant time with these books this year.

5. The Wedding People

   

Last but not least, the read that surprised me, moved me, and challenged me most this year was The Wedding People by Alison Espach. I did not know what the book’s true premise was before I started reading it, and I was surprised when the narrator revealed her intentions. When editors say they are looking for strong voice, authors like Alison Espach (and Emily Henry, Tia Williams, just to name a few) are exactly what they mean.

This book made me laugh out loud (apologies to the neighbors who likely heard my gasp and guffaw) and cry real tears. The truth of the experience in this book is so brutal, so raw, I felt seen and understood in ways that I don’t think I’ve experienced with such specificity before.

The Wedding People won’t be for every reader. Don’t be misled by the cover or the topic. Weddings bring out both the best and the worst in us—family truths, beliefs, sins, selfishness, and dreams. This was a powerful, moving, shocking, and healing read that I’ll treasure and re-read many times over.

Next year is going to be an amazing year in books

No matter your political preference, 2025 is going to be an interesting year. One thing we can count on is a heck of a lot of great books. Here are just a few releases (many releasing from Book Genie clients!) that I cannot wait to see in 2025:

1. February 2025:

   

   Working with Tod on this book was truly one of the highlights of my career. And I’m not the only one. Check out this pre-pub blurb:

   "This powerful, heart-wrenching novel follows a young Polish Jew through his incredible journey to escape the Nazis. Reuven’s story typifies that of millions of others experiencing the horrors and deprivations suffered by Jews in WWII and those who tried to help them. And yet, it is also an ultimately uplifting and inspiring tale of one man’s coming of age in horrific times."—Heather Morris, #1 bestselling author of The Tattooist of Auschwitz

   I pre-ordered this one and cannot wait until this story is released into the world. It’s gorgeous, complicated, and lovely in a way that I truly cannot convey. (But Tod does!!)

2. July 2025:

   

I am not a betting woman, but I would be willing to bet that Critters (fans of Critical Role) make this book an instant bestseller. Have I pre-ordered it? Have I stalked Thea Guanzon’s socials for every little tidbit I can find about this book? Yes and yes. The epic Campaign 2 of Critical role brought this spicy romance novel to the attention of the party. This summer, we can read the tale ourselves! Mollymauk Tealeaf will forever be one of my favorite fictional characters, but I am so in love with Campaign 2 and fantasy romance, that I literally couldn’t be more excited—well, if Jester, Fjord, Caleb, Beau, Cadeuces, Yasha, and Nott hand-delivered this to my door, I would be able to singlehandedly fly to the moon fueled by joy alone.

3. Release Date TBD: Domestic Suspense tentatively named The Baby Nurse

The author of this book came to me as a referral, and I have to tell you, right from my first read of it, I knew it was special. The book was labelled women’s fiction, but the premise and the complexity of the journey made this a genre-bender to be sure. The critical rules of traditional publishing are know your genre, know your audience, write what the publisher knows they can sell. This author had an uphill battle with this book. But she did not give up. She queried, she accepted the process for what it was, and she’s now with a publisher who values her voice and this work. I can’t wait to celebrate her success in 2025 as soon as the release date is firm!

Believe in the process and the timing

If 2024 taught me anything, it was patience. In a year that included setbacks and challenges, hopes as well as fears, I learned new technologies, worked with talented new clients, developed new projects, and built really strong relationships with new partners.

In 2025, I’ll be teaching creative writing and editing courses at Stanford Continuing Studies, UCLA, and if we can line up our calendars, Writers.com. I have my ghostwriting schedule (both fiction and nonfiction) under contract and fully committed.

My winter Stanford courses are sold out (romance writing, Novel IV, and Query/Submissions prep), and Copyediting I at UCLA is full, but there are a few spots still open in Freelancing for Editors. This spring I will teach a brand new romantasy writing course and will be hosting the in-person Focus on Craft book club at The Ripped Bodice starting in January.

I’ll be working on releasing all 284,00+ words of my zombie serial, a new fantasy romance series, and some new online options for course delivery. I have a full editing calendar through the end of March, but I can take on a few editorial projects after that and I have a few openings for coaching clients starting about that same time. (I run coaching like one-one editing and instruction but in hour-long Zoom increments as you’re writing or revising a book.)

Whether 2024 was the year you started or just another year you’re trying to make traction in your author business, please trust me when I say this: it’s never, ever too late. You’re not too old. The world does need your words and your stories—never more than now.

I wish you and your families and loved ones a safe and healthy holiday season. Pick up a book. Read a little. (Or a lot.) Write a little. (Or a lot.) Make an author buddy. Start an accountability group. Study the bestselling books. Read something quirky, new-to-you. Read more diverse authors. Support an indie bookstore.

And please, believe in the process. Believe in you. I have seen so many goals smashed and shattered this year in my practice alone—students with agents, clients with book deals—and I want all of this for you.

From Michael and Jeanne, the Book Genie team, we wish you happy holidays and thank you for being part of the beautiful, creative, and inspiring work we do every day.

More recently, social media platforms like TikTok have changed the way readers learn about books, which in turn has made social media an even more powerful tool to connect authors with their readers. Going viral, hitting lists, earning bonuses—there is always a new trend, a new platform, a new strategy, and new players.

Hello, Kindle Vella

In 2021, Amazon announced the launch of a new serial publishing platform. Kindle Vella joined the market alongside Radish, Kiss, Dreame, and other digital publishers that allowed authors to self-publish their content in small installments—like TV episodes for books.

Vella launched some new author careers and published work from some of the biggest names publishing today. The genres represented on the platform were diverse and the Top Fave List made finding popular stories easy for readers.

But the platform was plagued from the first day with issues—issues that Amazon was very much aware of. I was fortunate enough to launch a series on Vella that went live the very day Vella went live to readers. That series was something that I’d worked on for years as a novel, but the structure just was not coming together as a book.

Ninety-nine episodes, a quarter of a million words, thirteen POV characters later, Bug is what I would consider a Vella success story. For many months I considered Bug a personal success story, too. And yet, more than 18 months ago, I made the decision to stop publishing new work on the site and to dedicate myself to books.

Why? What Went Wrong?

Kindle Vella stopped working for me for a variety of reasons. The platform was very difficult to use, and readers had a nearly impossible time calculating the true cost of a work based on the token system that was required to unlock episodes. Rather than synergize existing subscription and revenue sources by combing Vella with KU, Amazon kept Vella separate. The tokens were priced differently depending on where they were purchased, and the rather than launch an app like Kindle, readers could only access Vella by searching for it on Amazon.com. There were bonuses paid to high-performing series, but unlike KU, which shares the amount of the bonus pool and some information about All Star bonuses, the Vella algorithm seemed to reward the wrong things. Reviews complaining about the platform (despite positive comments about the content itself) were not removed from the series, so authors were in effect penalized by low ratings because readers did not care for the pricing, the platform, or the features of Vella. The list goes on.

Goodbye, Kindle Vella

Like so many things in publishing, Vella will shut down in February 2025. Amazon made the announcement after several months of reducing payouts to authors through reducing the bonus pool and restructuring the compensation paid via token spent on episodes.

While Vella was a self-publishing platform, one of the aspects of the platform that was so attractive was that it appealed to a different kind of reader. The platform allowed for comments and reader engagement in a way that KU and outright purchases of books do not. And while many other platforms exist for those interested in publishing serial fiction, to have Amazon in that market space was incredible. While it lasted, that is.

Thank you, Kindle Vella

Publishing on Vella was life-changing for me. I met new author friends who will forever be part of my universe. I gained insights into data and metrics and the value of truly understanding the market as a creative that have forever changed my understanding of my craft. I received exposure for my work that was truly shocking, wonderful, and inspiring. Amazon chose Bug as an Editor’s Pick at launch. They ran ads featuring Bug alongside many other wonderful stories. And more than anything, my work touched thousands of people.

I started on Vella with no readership. I’d been ghostwriting for a very long time but hadn’t published my own work until Bug.

It’s hard to see anything but positive possibilities from numbers like this:

I’m grateful, so, so tremendously grateful to all the readers who supported Bug on Vella. To the tremendously gifted artist, Matt Hubel, who brought my characters to life in the art he created.

Bug is a story that was near and dear to my heart for more than five years before I published it in serial form. From Bea to Tobiah, Ro to Onelio, Snow to Sunflower, I put so much of myself into the series. My hope, my fears, my love…and especially my passion for the zombie genre and all that dystopian stories do to reveal the best and worst of humanity.

The bonuses and royalties were wonderful, but reviews like this one will forever stay with me:

What’s Next?

Like everything in life, nothing stays the same. Some changes are good, as they push us past our comfort zones and force us to evaluate what’s most important. Some change hurts and doesn’t seem to offer much more than the immediacy of pain. In publishing, though, one closed door always means there is an opportunity. Whether that means an opportunity to try something new, to shift gears, or to simply get back to the keyboard, I’m focused on the future. Bug’s first season was far from the end of the story. Maybe there will be books. Maybe I will finish the journey that Bea and the crew started on the day that everything changed for them.

No matter what the future holds for Bug and for the other Vella authors, I’m grateful for the experience. So grateful to , for being an instrumental part of the process and the reason I published on Vella to begin with. I’m looking back with bittersweet feelings, but I’m looking ahead knowing that change is healthy, natural, and to be expected. We don’t always know where, when, or how it will come, but we’re storytellers. Is “the end” ever really the end? Or is it simply our cue to turn the page and start a new chapter?

Here’s what I’m reading this fall and why I chose the book!

1. Persuasion by Jane Austen, the annotated edition by David M. Shapard

Pride and Prejudice gets a lot of love from readers, but I’ve always had a soft spot for Anne Eliot. Not only is she an older protagonist (late 20s!), Anne is a woman whose journey taps into some of the most popular contemporary tropes: found family, family drama, second chance at love, and even the “ugly duckling.”

I moderated a book club in October, and since there are so many retellings of Jane Austen’s work, I thought I would revisit one of the original works. On re-reading, I was struck by how timeless the work is. The notes in this edition are helpful, and the illustrations add flavor, but the story itself is cutting in its insights.

I felt that the themes of Persuasion could be applied to modern social media and our “influencer” culture and economy. If you’re not there for the love story (and this is most definitely a romance, complete with HEA), consider reading Persuasion through the lens of modern life. It stands up all too well, and that’s what makes the situations and the pains even more poignant. Some of my favorite characters are Mrs. Smith, who in some ways is a mirror into the possible future for Anne, redeemed by friendship and cheerful by choice. And of course there is Anne herself, the fixer, the do-er, the caretaker. When she finally has the opportunity to rise into the central role of her own story, the resolution (THAT LETTER) is so, so sweet.

2. Last Call, A True Story of Love, Lust, and Murder in Queer New York by Elon Green.

This book has been made into an HBO Original documentary, but I have not seen it yet. I’m captivated by true crime and love an immersive work that explores queer history, so this book was a one-click for me. The work is part true crime, part history, part… Well, it has a lot of parts. And in my opinion, the book does what excellent nonfiction should: it brings the subject to life through storytelling.

In this book, we learn about the victims and their tragic fates, but we also learn about how these men lived during this period of American history. How the delicate and very often adversarial relationship queer people had with the police and justice system influenced the perception of crimes—even very serious crimes. We learn about fingerprinting technology, typesetting, and the evolution of the AIDS epidemic. But rather than biting off too much, the author makes every tidbit fit into the compassionate and terrifying story of finding a killer who lived, loved, lusted, and killed right beside his victims.

3. The Girl in the Bog by Keith Donohue.

   

It’s spooky season, so who could resist the story of an Irish bog body come to life? The writing is so lyrical and beautiful, yet not overdone. I haven’t finished this yet, so I can’t give a final rating, but I’m enjoying it so much, I’m reading slowly and savoring all the vibes. I’ll report back if you’re curious about my final rating!

4. 7 Figure Fiction by Theodora Taylor

If you’ve never read this book, you’re in for a treat. Theodora Taylor is a successful romance author who has literally written the book about universal fantasy. I read this one every so often, but as I’m grappling with a major revision to one of my own books, this slim volume goes down like butter: easy to read, fantastic examples, and oh-so motivating. If you need help reconnecting with the love and passion you have for your genre, pick this up. Theodora will help flavor the words you write so you fall back in love with the craft of storytelling.

What are you reading and why? What’s surprised you about your TBR (to be read) list this fall? Share your book recs in a comment because I will be ready for something new soon!

Welcome back! In my last post, I covered the first two strategies I recommend to authors who want to self-edit the first chapter of their book.

Why self-edit? Because you want to make your work as ready for your readers as you possibly can make it. Whether you’re sending work to a beta reader, a critique partner, a pro editor, or a paying consumer, the right time to self-edit that book is before, not after, your work is in someone else’s hands.

If you missed the last post, you can catch up on the heavy load the opening line carries and the best place to introduce your main character here:

1. Does your opening line intrigue the reader?

2. Have you introduced one of the protagonists within the first few lines/first paragraph?

3. Have you given us a deep stake or clear emotional anchor on the first page?

4. Have you established a clear theme in the opening chapter?

5. Do you conclude the chapter with a clear story beat and exit hook?

Now let’s tackle strategy #3.

3. Have you given us a deep stake or clear emotional anchor on the first page?

Before I explain how to look for this in your first chapter, here are simple definitions for deep stakes and emotional anchors.

A deep stake creates a sense of urgent foreboding or immediate risk. A deep stake will work hand in hand with a gorgeous first line to make the reader quickly understand and feel what’s going on in your story and why that reader should care.

Think about it this way. YOU love your characters and your book. I assume you feel that love or you wouldn’t have spent the time and energy to write anything at all. As legions of writers will attest to, scrolling social media, cleaning, or coming up with literally anything else to do is easier than writing. If you care about this story, one way to convey why you care is to craft a first chapter that allows the reader to care as well.

I believe the job is a lot simpler than you think. Book readers WANT to get lost in your story. Simply by picking up your work, looking at the free preview on Amazon, or scanning the first page, they are giving you an opportunity. Seal the deal by showing the reader as quickly as you can why they should care about your book.

Take a look at the deep stakes set up by the prologue of Iron Widow by Xiran Jay Zhao:

The Hunduns were coming. A whole herd of them, rumbling across the wilds, storring up a dark storm of dust through the night.

Now with just two sentences, I feel the terror, I see the landscape, and I am intrigued. What is this herd and what kind of defense is possible against them? This opening sets deep stakes for the reader. What’s at risk? I can’t know all the specifics yet, but I already can see a world where there are dangerous herds that rumble through the night. By the third and fourth sentences of the prologue, I’m completely immersed in this terrifying and dangerous moment.

Their rotund, faceless bodies, made of spirit metal, glinted under the silver half-moon and sky full of glittering stars.

A lesser pilot would have had to fight off nerves to go into battle, but Yang Guang wasn’t fazed.

The second paragraph describes the metallic claws of the war machine that the pilot is driving into this storm of Hundun. The stakes are clear: victory against the Hundun or a miserable death. War machines, pilots, spirit metal… I don’t even know who my main characters are or why I should care about them, but the stakes of this world, what the threats are, what’s happening right now are so clear that I have to drop everything so I can see this moment play out.

Let’s say, though, you’re not writing a futuristic reimagining of Chinese history and mythology. What if you’re writing a thriller or a romance novel? Maybe an emotional anchor is a better strategy to ensure you’re grabbing the reader in a compelling (but consensual!) chokehold.

Placing an emotional anchor in your book means more than having an character experience emotions. Emily McIntire’s dark romance Hooked opens with these two lines:

It feels different than I thought it would.

Killing him.

I don’t know about you but when I read those lines, I need to know how the character feels and why the experience of murdering someone feels different than expected! But more than simply the shock value of that opening line, the prologue sets up the character of Hook so we know what kind of man he is and what to expect from his journey. In just a few short pages, Hook reveals:

• that he’s the monster this victim helped create

• that he’d hoped his victim would beg, even just a little

• the bloodshed brings him a high

• that despite all this, the murder felt anticlimactic

• that he’s the hardest man in the universe to please

• that he is messy, that his innocence was stolen

• that he has no regrets

• that he feels rage at the wrong things (smashing a gold pocket watch with as much violence as he murdered the victim)

• and that the man he killed is his own uncle

For a dark romance novel, this opening brings the darkness, the brokenness, the viciousness immediately to life. Whether you love Hook or hate him, are fascinated or disgusted by him, you know what to expect because the author has created an emotional anchor that drags you into the depths. I am fully prepared for this book to be dark. I know this character will do bad things. And that begs the question: Am I in or am I out?

A lackluster first chapter may move characters through scenes, explore backstory, even develop an inciting incident, but if you want to hook your reader (pun intended here) have you given your reader a Hook moment? Do they know what they’re getting and have to commit to the ride or get off? Use strong stakes and emotional anchors as quickly in that first chapter as you can.

After assessing your stakes and emotions, there is a structural aspect of the first chapter that you won’t want to overlook.

4. Have you established a clear theme in the opening chapter?

We don’t have to look much farther than the prologue of Hooked to see themes already presenting themselves. If you’ve studied the niche or sub-genre you’re writing in, you likely already know the tropes your readers are expecting. But the subtle sibling of tropes are themes.

While tropes are on-page devices that convey in a very self-aware manner certain story devices (unreliable narrator, enemies to lovers, fish out of water, etc.) themes are the messages you want your reader to pick up on as they read your work.

Themes are often tied to characters’ arcs. For example, if you’re writing an enemies to lovers story, there is always a reason why the characters are enemies. Using that trope as a device, you may explore how the characters became enemies in the first place. In so doing, you’ll likely touch on the topics of identity, redemption, insecurity, vulnerability. Themes take these broad topics and send specific messages about these issues to your readers.

In Gillian McAllister’s Wrong Place Wrong Time, the protagonist is on a journey through time to stop a murder before it happens. The book blurb reveals this, so this is not a spoiler. What the book itself conveys very subtly and in some places very clearly is that this is not just the story of trying to right one wrong—the murder of a man by Jen’s son. This is a journey that Jen has to take through her life to explore how she’s failed in her roles as a mother and wife. What she has done, not done, and could have done better as she pursued a legal career and family.

The opening chapter shows Jen trying to talk herself through the worry of her son not being home on time while she’s making a half-hearted attempt to carve a pumpkin for Halloween because everyone else in the neighborhood has.

The disconnection Jen feels from what she’s doing and her motivations continue as she travels back and unravels the mystery of who her son murdered and why. Without smacking the reader in the face with a message, this thriller tackles issues and sends messages through beautifully nuanced themes brought to life in scenes like the first one. Take a look at this screen grab of the Amazon Look Inside preview. This is the third paragraph of the first chapter.

Theme is hard at work and I know (because I loved this book!) that the themes are delivered through consistent moments where Jen faces exactly what she does right here: She thinks she’s screwing everything up, but she still finds beauty in the jagged edges of her life.

Can you spot-check your first chapter and see if you’ve laid the groundwork of your work’s critical themes? If you can’t find the themes easily, I can guarantee your reader won’t either.

Last but definitely not least,

5. Do you conclude the chapter with a clear story beat and exit hook?

This test might be a little easier AND a little harder at the same time. First, let’s tackle the story beat.

Story beats are not just things that happen in your writing. A scene in which characters meet at a coffee shop to talk about committing a murder is not necessarily a story beat. The beat is the action one of those characters takes to make sure that someone else other than the intended victim is actually killed.

In a romance, beats can move the romantic plot toward the Happy Ever After or away from it. Or maybe those beats allow the character to pursue a goal or show the character refusing the call/resisting the goal.

A Love Song For Ricki Wilde ends chapter one with a gorgeous, clear story beat. Our main character Ricki has a dream but no way to pursue it. She’s trapped in a family that doesn’t understand her and has chosen a path that departs from the family legacy. She wants to open a floral shop and does not want to stay in the mortuary business. Once she voices her plans to her family, she’s fired and cut off. In the last few moments of her employment at Wilde Funeral Home, Ricki meets Ms. Della, a woman who has lost the love of her life and needs to plan for his final rest.

As Ms. Della and Ricki talk, the chapter ends with a significant beat, a moment when everything changes for Ricki and for the direction of the book: Ms. Della offers up a location in Brooklyn where Ricki can open her shop.

If you have not read the book, don’t rely on my oversimplification of the opening chapter. Read it for yourself. It’s a magical, lyrical, and brilliant book that brings the Harlem Renaissance to life while exploring family histories, legacies, and love. What’s important to learn from chapter one is how a correctly placed story beat will function like a road sign: take this path and the story moves in a completely new direction. The offer leads to acceptance and by chapter two, Ricki is experiencing her first fall in New York.

If you have a strong story beat in chapter one, you’re going to reveal the path ahead to your reader. How do you make them unable to resist not just walking but running down that road? A brilliant exit hook.

Just like a winning opening line makes a reader want to keep reading the first pages of your book or chapter, an exit hook entices the reader to turn the page and keep going. So many authors forget that when a chapter ends, the reader has a natural pause or break in the action.

We don’t want to make it too easy for the reader to set our book down during that pause. In fact, I want to feel the need to come back to that book as soon as possible. A strong exit hook will leave me thinking, wondering, and waiting for the moment when I can aside work, life, and chores and abandon all responsibility so I can get back into your story.

Since we already know that Jen’s son commits murder in Wrong Place Wrong Time, the challenge is huge. We know the chapter one exit hook has to get us to turn the page and keep reading. I mean, we know Todd killed a man right in front of his parents. There are only so many things that happen at this point, right? What can a mother say that we haven’t already heard or thought of before?

This exit hook is so unexpected, I don’t know what to think, and therefore am left curious, interested, and desperate to know what Jen will do next:

Whoa. So this mother who literally has a dead man’s blood on her hands is staring at her son, Todd, and telling us… I know so much about so many people. I don’t know anything about this person who I gave birth to, raised, and now have watched kill someone on the street in front of our family home.

I already know from the early parts of chapter one that Jen has an interesting marriage and family life, but now? I want to know if this is the origin story of a serial killer, of a mother who will turn her son in, of a family that manages this secret forever…

I have no idea what is going to happen and the hook is original and unexpected. I need to know how this story develops, so the exit hook did its job. I turned that page and read every chapter until I reached the end. And wow, was it worth the journey!

If you’re working through drafts of a novel, I hope these tips for self-editing the first chapter give you clear strategies for self-revision. Are any of these tips new to you? Did the examples entice you to read the books? Let me know what you’ve tried and how it worked!

Whatever your perspective is on editing, I want to share five tips for editing the first chapter of your book. Why the first chapter? In my experience, most books lose their target readers within the first 3-5 pages. Whether an agent passes on your sample pages or a reader checks your “Look Inside” preview on Amazon, hooking the reader and keeping the reader are two separate problems! With a strong opening chapter, you can set yourself up for success by succeeding where others fail: hooking the reader!

You can certainly apply some of these concepts to the middle of your book. But because the middle of the book functions in a very different way structurally from the beginning, I’ll recommend more tips for the middle of the book in a separate post.

Now let’s take a deep dive into your first chapter. Here’s the TLDR version. I’ll go into more detail below for each step.

1. Does your opening line intrigue the reader?

2. Have you introduced one of the protagonists within the first few lines/first paragraph?

3. Have you given us a deep stake or clear emotional anchor on the first page?

4. Have you established a clear theme in the opening chapter?

5. Do you conclude the chapter with a clear story beat and exit hook?

1. Does your opening line intrigue the reader?

Opening lines need big shoulders, friends. The opening line can make or break a book. The first few words you convey to the reader should be more than just a interesting place to start. Consider the impact of your opening line. Does it provoke an emotion in the reader? Does it make you want to know more? Does it lead to a “what/why/how” question?

The opening line is the unsung hero of your novel. It has to be more enticing than a plate of delicious-smelling, mouth-watering food. It has to be more clever than a stand-up comic merged with a true crime podcaster, and it has to be authentic for your genre.

Are you writing a rom-com? Guess what… I expect that opening line to be funny! Horror authors, please, give me tension, fear, or a sense of foreboding. Thriller authors know this struggle well. The opening line likely takes place during the “before” or “early aftermath” of the action.

If you’re not sure whether your opening line packs a punch, ask yourself if your opening line carries the weight your reader will expect. Does the opening line fit the expectations of the genre/sub-genre I’m writing in? Consider the opening line of Titan, a Gargoyle Daddy Dom Romance by Jillian Graves:

Wow. I don’t know how she could improve on that!! I see the gargoyle (granite back, claws, horns) and with a subtle detail like the fat rivulets of rain, I’m already picturing the scene and setting. This opening line passes the expectation test with flying (sorry, pun intended here) colors.

Michelle Zauner’s brilliant bestselling memoir Crying in H Mart opens with this line:

Too on the nose? I don’t think so. We were hooked by the title, by the cover with its vibrant illustration of noodles. We know the book is a memoir, so give the people what they want. Explain the title. Set the mood. Be clear and direct in the hook.

In The Affair, a Jack reacher novel by Lee Child, the opening line is long, but wow is it a robust hook:

I don’t know about you, but I feel claustrophobic and almost panicked at that first line. The enormity of the building is so specific, I feel its size in my core. And then…very few ways out. The time and place are a feature of this opening, not a specific POV character, but I’m immediately plunged into the world with sufficient detail for this to feel like an “insider’s view.” That means I don’t yet see my protagonist, but I believe that person is in the know and is not far away. I’m willing to wait for the voice attached to this observation. And I have to admit I already feel uncomfortable and excited about what’s coming.

In the now-infamous first line of Trial of the Sun Queen (epic romantasy), main character Lor opens the book with this iconic statement:

Given the title and the genre, this opening line sets up just about everything you need to know about this character in just five words! What comes next? Who wouldn’t read on to find out!

2. Have you introduced one of the protagonists within the first few lines/first paragraph?

After you’ve assessed your opening line, consider how quickly you bring your main characters onto the page. Ideally, you’ll want to not just hook your readers with that first line, but you’ll want to deliver a reason for them to keep reading. Caring about a main character, distrusting a narrator, and feeling immersed in a situation are all aspects of storytelling that take time. But how much time is too much time? Where is the line between setup and stagnation?

You can see from the opening lines above how several strong books have first lines that function as effective hooks. Moving quickly into the story means that you shouldn’t spend pages and pages on setup. Can you challenge yourself to bring the story into focus quickly? Can you introduce at least one main character in the first paragraph if not the first few lines? There are many exceptions to books that do this well, but those are exceptions. Take a look at these examples:

A.M. Shine’s horror novel The Watchers opens with a prologue. The point of view is labelled John and the opening line is: The forest was bright on the darkest day. How soon do we meet our POV character John? In the very same opening paragraph, fifth line down. John’s the one making the observation about the forest. John is the one who sets the terrifying stage and who gives us the shocking stakes—all by the end of the first page!

Tessa Bailey’s novella Same Time Next Year is written in first person point of view. Our main character Britta speaks her first line of dialogue in the first line of the book. No word is wasted as we see our main character working her job at a sports bar where hockey players hang out. How quickly do we see the object of her affection? Not ten pages or several chapters in. We meet Sumner exactly three and a half pages in.

Giving the reader a reason to read starts with a great opening line. Once you’ve hooked a reader, keep them there by giving them a reason to care, to feel, to be immersed in the story. Giving us a main character on the page as quickly as possible is a strategy that will ensure you have active scenes and effective pacing. Next week I’ll dive deep into the rest of the tips on this list. Check back for the rest since this is long but (I hope) valuable topic!

Since the ‘70s, publishing houses and self-publishers—thanks to an insatiable reader base—have built a billion-dollar industry out of stories that sell not just love stories, not just spice/steam, but something else to readers: romance novels are the books that tackle issues on the forefront of human experience. From complex issues related to physical intimacy, such as consent, protection, and communication, to issues surrounding work and career, home life, family dynamics, trauma, and healing, romance is the genre that allows readers to laugh, cry, learn, grow, and be challenged—all while delivering a guaranteed Happy Ever After.

If you’ve wanted to write a romance novel but don’t know where to start, here’s a guide to getting started:

1. In a romance novel, the story is always about something bigger than just the love story. Yes, the love story is a key quality of the genre, and of course, the happy ending is a critical covenant that romance authors make with their readers. But new authors often think a romance novel is simply the story of how two characters fall in love.

This is not correct!

Both characters in a romance novel need to have the first component of the GMC formula: a goal.

What kind of goal? Ideally each of your main characters, whether you write single point of view or dual, will have a clear, time-bound goal. That means your character is working toward something. That goal could be saving a family business, opening a business, getting a new job. That goal could be avoiding something, as well: such as running away from an engagement, avoiding legal trouble, or staying under the radar while engaging in questionable life choices.

No matter what your character wants, they need a goal unrelated to the romance itself. I promise you, the romance will be critical to the story. That’s where the rest of the formula comes in.

2. The characters in your romance novel have goals. But why do they want what they want? Just like humans in real life, your characters need motivation. Motivation is the thing that drives characters toward their goal, and its the story fuel that will sustain the story’s pace while hitting all of the expected beats and arcs.

In your romance novel, look at the goal you’ve developed. Why does your character want to save that family business? If the answer is “just because,” you’ll run into problems trying to develop the middle of your book. (Also known as writer’s block.) Motivation comes from something, often in romance a core wound or a critical lack the character feels. Motivation can come from inside your character; things like trauma, desire, need create that drive toward a goal. Without motivation, the slightest resistance will collapse your character’s intention. And that means a story that falls apart.

Think about your own life. Why do you want what you want? Let’s take a realllllly simple example. I love crocheting, so let’s say I want to crochet holiday gifts for family. But what is the consequence of not achieving that goal? Well, the stakes are pretty low. I have other options, such as showing up to the holidays with store-bought gifts.

Let’s add motivation. What if I have been unemployed all year and I have zero money. I have a closet full of yarn and some crochet hooks and nothing but time, and I just found out that my younger sister, who has been my lifeline since our parents passed away, is going to be deployed overseas in the new year. If I want to send my sister off with something special, now I have motivation to make that afghan or shawl. I don’t have money. I do have yarn. I have a relationship that deeply impacts my life. I have a timeline under which I need to do something concrete or else I will suffer some unwanted consequence.

Now, I have authentic motivation for my goal, and as a result the journey changes! I can’t just do the easy thing, and I can’t just fail. Well, I can fail, but the cost to me is a lot higher in the scenario where I have motivation for the goal. A goal + motivation = a far more dynamic story. Notice that I haven’t even mentioned the love story yet… But once you have motivation for the goal, you’re ready for the last piece of the puzzle.

3. If my goal is to crochet my sister something by the holidays so she can take it overseas with her, you might think the only thing I’m battling is time and my own skills—and maybe my tendency to procrastinate. Far from it! A dynamic romance novel also needs conflict.

Once you know the goal and why the character wants to pursue that goal, you can litter their path with obstacles. Some of those obstacles will come from inside the character—such as my ability to procrastinate and not get the afghan done because I’m searching for a job, filing my nails, walking my dog—whatever I’ve done over the last year that I’ve been unemployed and very, very broke. Those internal issues are the things that I’ll need to change if I want to be healed and whole by the end of the novel. So if I am a procrastinator, you (as the author writing my story) will want to create opportunities for me to change, to get over myself, and to stop doing the thing that has held me back in the past. That journey to grow and change (sometimes successfully and at other times not so successfully) creates a dynamic character arc.

Some of those obstacles, or conflicts, will come from outside the character.

Think now about how to create a complete story for the “me” character.

Jeanne, unemployed and broke, has three months to crochet a going-away gift for her sister who’s being deployed overseas.

We have a goal and we have the motivation for that goal. We have a time frame within which that goal must be achieved or else the character will suffer some unwanted consequences. But where will we find our conflict?

I’ve already got plenty of internal flaws that will challenge me on the path to finishing this project in time. Let’s look outside of me for some external obstacles or external conflict.

What are some things that in my external world that could stop me from achieving my goal? The obvious circumstance I can think of is noise.

So let’s consider the hardest noises to block out/ignore: construction or a dog barking are two that would be high on my list. Now I have an idea.

One day I notice scratching, barking, and crying coming from across the hall. I’m trying to crochet but in my cheap apartment, even noise-cancelling headphones can’t silence the sounds filtering into my apartment.

Now I have an external problem to solve, an obstacle that will keep me from my goal. What if one day I get so mad, I walk across the hall in the evening when the dog is quiet and pound on the door. My neighbor across the hall is someone I’ve never met and I plan to give them a piece of my mind until I open the door to very attractive man. I learn he’s a hot single dad who has custody of his daughter. His daughter is struggling to get through her parents’ divorce and so Dad rescued a puppy. And that puppy is the bane of your crocheting plan.

See what I did there? I had a goal. I had motivation for my goal. I had some internal conflict, but now, I’ve got external conflict. That external conflict just so happens to create an opportunity for not only growth, but love. Now that I have all three pieces, I have the critical components for an epic rom-com. And look how easy it was to find the “right” match for my main character. I didn’t start with her perfect partner. I build out a fully developed character and worked through the essential components of the story to find that perfect match.

If you’ve always wanted to write a romance novel, start with a character. Give that character a goal. Add authentic motivation, and if you can, a time-bound consequence tied to the success or failure of that goal. Now dig deep for conflict—obstacles that come from both inside the character and who they are as well from their external environment. The love story will come together once you know who you’re writing about, what they want, and what challenges will get in their way. And of course, don’t forget to give them a Happy Ever After!

I’d never made a “threaded post” (a long post that continues over many connected posts) so I thought I’d try it. Knowing I was probably wasting my efforts by posting so late, I posted with confidence—not at all worried. I figured if I “did it wrong,” that very few people would even see it. I watched some Critical Role and went to bed.

I woke up the next morning to a shocking number of notifications. Likes, replies, and reposts. Even more shocking was the number of views the post itself had.

I have to admit, I had no idea at first how to see how many views the post had. I was just shocked that anyone was engaging with it. I replied to every comment and watched in amazement as the hours rolled by. I ended up Googling “how many views means a post has gone viral” because at 5,000 and 6,000 views, I had high hopes that this was my moment.

Within the first twenty-four hours of posting, that Thread had over 20,000 views. So I did what anyone would do: I posted again. The same format, similar topics, but with a far less engaging hook. And it happened again. The second thread never quite hit the peak of that first in terms of engagement, but it was viewed 20,000 times in the first twenty-four hours it was live.

As of the date that I’m writing this post, here are my Threads insights:

How could I continue to grow and use this exposure for the good of my business?

The first question I looked into was whether there was any way to boost that post to reach even more authors. Instagram and Facebook both offer options to pay to boost a post that performs well. This isn’t a method I recommend for many (or any) posts. But it can be a great way to assess whether certain aspects of the content of that post (text, images/video, call to action) resonate with the platform’s community.

I quickly learned that it did not appear there was any way to pay to boost that post. So I decided that the next best thing I could do was keep posting and keep engaging. I followed some accounts that made sense to follow, reposted the type of content that I thought would make sense to my followers, and replied to Threads from other people that would allow me to engage with content related to the same themes/topics as my successful Threads.

As far as how I could use this exposure for my business, well, I didn’t think there was anything *yet* that I could easily do or apply. I did see spikes in visits to my website, signups for my newsletter, and was even contacted through my website by two people who inquired about my services and schedule. But when you consider the volume of visibility (let’s just go with the first viral post alone) 20,600 views and counting, these numbers far from translated to meaningful growth or impact to my business.

What did the numbers really mean?

My biggest question was why, if the posts were so engaging and so frequently seen, was my follower count not growing as much as I’d expect? (For reference, I gained more than 400 followers after starting with a modest 300-something followers before I posted. (For reference, my Romance Writing Academy Instagram account has 1152 followers.) Let’s assume those 20,000+ views are comprised of people who viewed the post multiple times. Even if only 20% of those views were from unique viewers, or 4,000 people, wouldn’t it make sense that more than about 10% of those people would take an action and click follow on my account?

Clearly not.

How did this happen in the first place?

Before I draw any conclusions about this experience as a whole, I will say I think I did hit the golden formula with that Thread. Here’s what it said:

There are three things I can tell from the first 3-5 pages of a book that reveal whether an agent or publisher will pass or consider the work. A 🧵. Here’s the first one.

2/ The opening line isn’t a strong hook based on the character’s emotions or a story stake. You have about one sentence to hook your reader. The best way to do that is with emotion tied to a character that we will come to care about or with a stake of some kind.

3/ Consider these opening lines:

Conscription Day is always the deadliest. Fourth Wing Rebecca Yarros

Black boys like me don’t have magic powers. Blood at the Root, LaDarrion Williams

A Carolina first-year sprints through the darkness and launches himself off the cliff into the moonlit night. Legendborn, Tracy Deonn

4/ What do these opening lines have in common? A deep stake for the story or an emotional anchor that sinks you fast and deep into character.

5/ I wrote about these three in a recent post but comment if you want me to share more! 📝 WriterThreads

What I’d written as an attempt at a call to action is not what people responded to. I had only 3-4 replies asking for more tips. What I got instead was writers pasting the opening lines of their books and asking for input or sharing how they had revised their first lines based on my post.

That was an intensely time-consuming effort. I spent the better part of Saturday and Sunday glued to my notifications so I could reply quickly until finally the tidal wave trickled to a still puddle.

Since there is no way at this time to use creator tools/ads to find more followers interested in my content, I took away a few key lessons:

1. Building an effective social media presence really does require giving time and engaging with people. I am sure large brands can afford to phone this in, but I had to vary the types of posts I made after the first two because composing high-quality, valuable content takes TIME.

2. Building an effective social media presence needs to have a purpose. If I’d wanted to turn followers into clients, I would have taken a very specific strategy long-term which would differ from my current goals, which is simply to grow followers and social presence. Going viral could have helped with my purpose, but since I had no real plan or purpose, I couldn’t leverage that viral moment other than using it to better understand the platform and my own content strategy.

3. Building an effective social media requires consistency. I know, I know. This one is obvious. But if you needed proof, consider these numbers. My first viral Thread reached more than 20,000 views in the first 24 hours. After that, views ground to a halt, accumulating about 500 more views over the next ten days, and about 100 more views in the week after that.

What I took away from this is that any brand—author, editor, etc., needs to stay present. What have you done for me lately has never been more obvious than in the lessons of my viral Thread. Why isn’t a Thread that was clearly relevant and meaningful on Sept 6 still being seen to people following the hashtag? Only the Thread gods know. But old posts aren’t enough to stay relevant even if the content is evergreen or still valuable.

I was thrilled for the engagement that happened over my viral posts. I loved helping people who were willing to share their work online with me. I gave people support, encouragement, and I know had an impact on their understanding of craft. More than anything else, though, I gained confidence in how social media works and an appreciation of what social media can do when it works. Understanding in theory and watching those notifications pile up are two very different things!

Have you gone viral? Have a social media takeaway or strategy you’d like to share? Comment here and teach me! I’m a passionate student, and this was one incredibly fun lesson.

Here’s why:

1. Publishers have to make money.

The traditional market is just like any other business. Editors are under immense pressure to bring on books that can move the needle deeper and deeper into the black. That means when your query crosses an agent’s desk, the agent knows that unless YOUR book is THIS VERY SPECIFIC thing that the acquiring editors want (and of course that agent must have a relationship with an editor to really know what they want), your book will be passed by.

Great books get passed on, buried in slush, and ignored every single day. If the average agent received 3,000-5,000 submissions per month, standing out becomes a numbers game. The odds are most definitely not in favor a new, unknown author.

If you aspire to traditional publishing, ask yourself why? Have you always dreamed of seeing your book in bookstores? Guess what? Bookstores, including major retail chains like Barnes & Noble, are more welcoming than ever to indie-pubbed books. If you have a homemade book cover, no editing, and no sales, then sure… Seeing your book beside Rebecca Yarros on the B&N. Best of Book Tok shelf might be a long shot. But with a quality product, the right distribution options, and a little outreach, you might just be able to get your books on shelves in brick and mortar bookstores—even the big ones.

If you don’t know how to set up your book so that bookstores and libraries can acquire it, let me know. I can refer you to excellent resources such as the YouTube channel of my friend Dale L. Roberts, a respected name in self-publishing who teaches authors the ins and outs of the day to day work of running an author business.

2. Traditional publishing deals are not that lucrative…except for a select few.

Ask any traditionally published author how many years or how many books it took for them to give up their day jobs, and many trad authors will t ell you, “I don’t know. I haven’t done it yet!”

A little-known fact of trad publishing is that advances can be low—ridiculously low. And with royalty rates that factor in the % share each platform takes from the sale (Amazon, Apple, Google, B&N, local stores, etc.) as well as paying the agent their commission on the profits, many traditionally published authors cannot make full-time incomes writing. You may not see them going to do day jobs, but many post openly about the financial realities of publishing and the stress of balancing an author career with the 9-5 demands of a job that pays the bills.

3. Traditional publishing does not innovate and will never be at the forefront of change.

Why should an author care about innovations and change? Well, here’s the thing. More authors than ever before are earning seven figures self-publishing. They are not doing that by following the same old tired rules of trad publishing. Authors at this level know how to leverage their relationships with their readers, and that’s not something trad publishers excel at.

Large indie authors have done everything from making their audiobooks available on their website for a limited time at a discount before distributing to the various audio platforms. Large indies set up street teams, appear at conferences, sell direct from their websites, run podcasts, YouTube channels, mentor other authors, run Discord channels… The list goes on.

I know indie authors with newsletter subscribers in excess of 40,000, 50,000, even 200,000 subscribers. With numbers like that, indie authors have direct lines of communication with their most engaged reader base. Indies can move quickly and can leverage that agility to make an impact on their revenue. Without a board of directors, and editorial board, marketing, PR, and art departments to coordinate (most indies handle all of these and more with a very small team if they have help at all), indies truly do have a far more intimate relationship with the market because they see the market as living, breathing consumers.

If you aspire to traditional publishing, I’m not here to discourage you! Some of my most beloved clients are traditionally published because that is the path that was right for their books. But if you’re worried about languishing in the slush pile or if you’ve seen one too many rejection letters, consider whether there is another way to kick-start your author career. With a budget, a plan, and some tenacity, you might be surprised where you—not an agent or publisher—can take your career.

The truth is, the greatest teachers are right there in front of us. The bestselling books in any given niche have several things in common. Here are three qualities that differentiate a good book from a bestseller.

1. A good book is important to the author. A bestseller matters to the reader.

   What does this mean and how can you apply this your writing? You can find the answer by looking at the books that are enjoying the success you aspire to. If you’re writing romantasy, you need to consider what Rebecca Yarros, Callie Hart, and Nisha J. Tuli are doing right. Should you emulate, copy, or steal their ideas? Absolutely not. Please don’t!

But you should give the people what they want. Rebecca Yarros’s breakout bestseller Fourth Wing gave the people what they wanted: easy to consume, easy to follow, easy to get into fantasy. What does that mean? Read the book and decide for yourself. You may not want to write young adult-ish characters who drop F-bombs and ride dragons. But what makes that book an easy sell for readers?

Take a look at this review:

What does this review tell me? This reader and the 2400 people who liked this review at the time I grabbed this screenshot felt the book had great action. That means pacing. Great pacing starts with a great premise that has clear stakes. Love it or hate it, there is a lot to learn from Fourth Wing. If you’re writing romantasy, you’ve got a masterclass from the pitch alone: Top Gun with dragons.

2. A good book gives a reader interesting characters. A bestseller creates a character so real, complex, and complicated, the reader can’t put the book down because they do not want to miss what the character will do next. Sure, in theory, we all think we’ve written great characters. But consider this:

A Flicker in the Dark was a debut novel! How did it earn Goodreads awards, get optioned for a limited series, and earn over 400,000 reviews? (Yes, 444,948 as of today to be exact!)

This reviewer says it all: Pulled into the story from the very beginning. Kept me guessing who did it. Could not put it down. The main character is not lovable! Good books give us good characters. Bestsellers take characters in an urgent, often unbelievable situation and makes us wonder: What? Why? How? The character hook digs into us from page one and does not let go until the last page.

I read this book and felt so unnerved and excited from page one to the end. Almost from the first page, I didn’t trust the narrator, and that excited me. Was I hearing from the killer? Or someone who knew the killer’s secrets but refused to see them? I loved every twist and turn, and yet the author did not invent the wheel here. A narrative voice that is lean, untrustworthy (yet disturbing in her honesty), and plenty of false leads? Those are the seeds of a bestselling story.

3. Last but not least, good books have great banter and witty one-liners. Bestsellers have highlights that make readers want to make memes.

It’s hard to argue with a book that has over 1,000,000 (ONE MILLION, friends!) reviews on Goodreads. But what we can learn from Ana Huang’s wild success with Twisted Love is that what readers want isn’t just smart, isn’t just witty. They want swoon-worthy, mark the page, highlight the passage quotes. Check out some of the 1,000+ quotes that have been highlighted by readers of Twisted Love on GR:

Are any of these lines words of untouchable literary genius? No, of course not. And that’s not to throw shade at Ms. Huang! These are great lines made memorable (and meme-worthy) by an author who made these moments tear open the hearts of her readers.

Could any character on the planet in a contemporary grumpy-sunshine romance say If you wanted, I would burn the world down for you? Absolutely. But when Alex says this to Ava, his dark soul and her sunshine come together in moments that make this not just clever—these lines become emblematic.

If you want to write a bestseller, start by reading them. What do they do that works better than what you’re doing? Lean prose, meme-worthy moments between the characters, a complex unreliable narrator, fast-paced action, deep stakes… Use what works in your genre, sub-genre, and niche, and you can level up your good writing to great and your good sales to bestseller status. Happy writing, and even more important, happy reading! Bestsellers aren’t just fun to watch climb the charts; they are our best teachers.

1. The premise is appropriate for the genre/sub-genre. A good example of this is including tropes and archetypes in a horror novel that a horror reader would expect to see.

2. The genre expectations are met, such as including consent or protection conversations in a romance, ending in an HEA, etc.

3. The structure fits the genre or sub-genre, so for example, a thriller or mystery has both an A and B plot.

4. The story beats and character(s) arc(s) are clear and in the right places. So many authors think they have these things in place but when I point them out, it’s clear that the arc of the main character is too flat or sometimes completely flat!

5. The essential foundations of the genre are clear and provide a strong “hook.” This is a tough one, but you can’t sell a rom-com without both the rom and the com, and that means characters, stakes, conflict, and a whole lot more PLUS the comedy!

6. The pacing is engaging and in line with genre expectations. Hopefully, if the above items work, then the pacing will work, but what about a great idea that is not well executed? A content edit can identify the need for line editing, trimming back the author’s voice, or other issues that make the story move too slowly.

7. Market trends and comp titles. This is a big one for me. When I provide a manuscript assessment, I need to know what titles my client will be competing against once this book is published. If, for example, the book widely departs from what the competition is doing, I can offer guidance on what the competition is doing, how the are doing it, and why my client should make decisions fully informed about the rest of the market space they would like to be in.

Now, these are a lot of big-picture issues, and believe it or not, I can tell whether most these things are in place from the first 3-5 pages of a book. Why is that? Because most well-executed books have certain things in common, just like books that need work generally have certain things in common.

Here are the top three things I can tell from the first 3-5 pages of a book that will lead me down the rabbit hole of revisions…and will lead a reader to DNF your book! (DNF is short for Did Not Finish!)

What does this mean? It means that you as a writer have one sentence to hook your reader. The best way to do that is with emotion tied to a character that we will come to care about or with a stake of some kind. Now you certainly can open with a weak hook or no hook at all. But consider these opening lines:

Conscription Day is always the deadliest.

Fourth Wing Rebecca Yarros

Black boys like me don’t have magic powers.

Blood at the Root, LaDarrion Williams

A Carolina first-year sprints through the darkness and launches himself off the cliff into the moonlit night.

Legendborn, Tracy Deonn

When I wake up, the other side of the bed is cold.

The Hunger Games, Suzanne Collins

If you look closely at each of these opening lines, you’ll see exactly what I said above: The opening lines all provide some kind of deep stake for the story or create a connection to the character’s emotions that is evocative in some way. Probably the least engaging hook is the one from The Hunger Games, and yet this book is one of the most textbook brilliant books I’ve ever read. (I’ll write a post just about this book at some point!)

When you open the book with a deep stake, you’re throwing the reader into the deep end and forcing us to sink or swim! We’re either in or out, but there is no languishing about being unsure whether we want to go back to TikTok or keep reading. An opening hook has to pay off, though, and that leads me to #2 on my list.

What does this mean? After hooking me, you’ve got to deliver on what that hook promises. In Fourth Wing, we learn really quickly that the main character is facing conscription day—a day she does not expect to survive! Most authors want to spend some time setting up their story for the reader, but if the essential building blocks of your story are working, you can start with an inciting incident (the moment everything changes, the disruption to the status quo) and take off running. No need to give the reader 5, 10 or even 20 pages to get their bearings in your universe. We’re used to being dropped in the middle of the action, and we expect you to effortlessly weave in everything we need to know once you let the bomb drop on page one!

As an editor, I like to remind clients to self-edit every page of their books before the click publish, hire an editor, or send drafts off to betas. Self-editing for the emotional arc of your main character is one of the easiest self-edits to complete.

Try this for yourself in something you’re working on now. Pick three pages across your work in progress and read just one page. Ask yourself to describe in one word how the main character is feeling and how the reader should feel in that scene. Where are the clues that the reader should pick up on? In dialogue? In the action? In the description?

When you’re trying to move characters from one scene to another, it can be too easy to fall into dead prose or narrative that doesn’t work for your characters—and by extension won’t move your readers.

Compare these two sentences. Which one offers you insight into the emotions of the characters and/or stakes of the world.

Charlotte looked both ways before crossing the street.

or

Blood thundered in Charlotte’s ears as she paused at the crosswalk, hardly registering the amber Do Not Walk sign before glancing both ways and dashing across the street.

Now in version one, the character could be out for a stroll, relaxed and at ease. Or, she could be pursued by a demon let loose from a magical artifact. We don’t know when in time this scene is happening, and we don’t have a clue whether this is something important or just window-dressing for what’s to come.

But in the second sentence, yes, there is more detail, but it’s not the volume that matters—it’s the emotions and the stakes. We can tell Charlotte must be running, being pursued, or otherwise under pressure or fear. The fact that she crosses against the light changes the “crossing the street” from something that is routine to something we need to know more about.

The connotations of words, the show/tell of the narrative choices, and the overall impact on the reader moves from “meh” to “wow” with just a few deliberate choices.

Hooking the reader is a job for every scene and every chapter, but it’s never more important than in the opening 3-5 pages. That’s when, like on a speed date, you show the reader why they should be interested in your characters and universe enough want to stick around. Avoid the dreaded DNF and make sure your pacing and hooks are strong and that you deliver on those promises page after page!

Need an assist with your manuscript? Manuscript evaluations are a budget-friendly way to get expert guidance on what’s working and what you still need to work on. Thanks for reading!

Authors, this video is for you. If you’d like to submit your work to one of my courses for free editing, watch Dale’s video!

Copyediting at Stanford Continuing Studies

Manuscript Makeover: Copyediting Essentials for Authors and Editors

I’ll be back at Stanford virtually September 30-November 8, 2024, teaching in their Continuing Studies Department! The Chicago Manual of Style is releasing a new edition (18) on September 19, so not entirely enough time for students to buy the new version. We’ll be focused for six weeks on how to use The Chicago Manual of Style as well as how to apply essential copyediting skills to your own work or, if you are an editor, to a client.

The format of this class is flex online, so for those who want to attend live weekly classes via Zoom, you can receive that one-one instruction. All sessions will be recorded and posted for those who prefer asynchronous instruction.

The Stanford classes tend to sell out, so if you’re interested, click the link above and register!

Freelance Editing at UCLA Extension

Freelancing for Editors

October 2-December 10, 2024, I’ll be offering one of the most popular courses I teach at UCLA Extension: Freelancing for Editors! This is the course that Dale shared in his video above.

I love this course. For the first five weeks, we cover the essential skills an editor must have to operate a successful practice. Students explore developmental editing, line editing, copyediting, or beta reading/coaching and can specialize if they already know the type of editing they prefer. We practice editing real work from authors who have submitted samples and then focus on the business side of creating, developing, and sustainable a profitable and professional freelance practice. This is a student favorite in the Editing and Publishing program and will fill up, so if you’re interested, register ASAP or get on the waitlist so you’ll be notified when it runs again!

Penning Passion: Finish The First Draft of Your Romance Novel in Ten Weeks

Sometimes the hardest part about writing is seeing the finish line. If you’ve been circling the drain with a romance novel idea, Penning Passion, a course I’m teaching at Writers.com is the most cost-effective way to receive guidance, accountability, craft instruction, and feedback to start and finish your novel. This is a fully asynchronous class, but we have two optional Zooms during the ten weeks—a kick-off and a concluding Zoom.

When you consider that for ten weeks you can pay $645 and receive individual instruction and feedback, there is no better value for authors who want to blast through an efficient first draft. And the Writers.com course includes informal pre-recorded lectures, reading assignments, and worksheets that you can rely on for every romance you write. Huge value, lots of support, and a finish line you can actually cross!

Romance Writing at Writers.com

Do you take online courses? What courses would you like to see offered in the future? I have spoilers… 😁 I’ll be teaching an immersive, feedback-heavy course on submissions (writing a query letter, prepping a submission packet, finding agents/pubs) at Stanford this winter, but I’d love to hear what course YOU are looking for!

Happy writing and Happy Back To School season!