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All Archives - Page 15 of 50 - The Book Doctors

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  • Three Ways to Edit Your Book

    Three Ways to Edit Your Book

    One of the biggest mistakes writers make is sending out their books before they’re ready.

    In this month’s video, we cover how to be your own reader, how to find readers and critique partners, and when to hire a professional editor. Whether you just “finished” your first draft or are ten years into a manuscript (like David), these editing tips can work for you.

    Be your own editor

    Sending out a terrific manuscript begins with you. You must be your own critical reader.

    Read your work out loud. This practice reveals so much about your manuscript. When you stumble over a sentence, 99 times out of a 100 there is something wrong with it. You get a different effect when the words go in your eyes, through your brain, and out of your mouth.

    Once you do everything you can possible do yourself, it’s time to hand your manuscript off to readers.

    Find readers

    First, your readers should be avid readers of books like yours. Readers in your genre know the marketplace, your comparable titles, and the category in bookstores.

    Second, you need readers who aren’t related to you. Yes, you want your mom to read your book, but eventually you’ll need someone who isn’t tied to you by DNA or relationships. Find people who don’t know your voice.

    Here are ways to find readers.

    • Join a critique group.
    • Visit Goodreads to find people who read in your genre and maybe you can arrange a manuscript swap.
    • Edit someone else’s book because it teaches you a lot about editing your own book.

    Hire a professional editor

    You want to find someone who has expertise in your area to ensure you’re adhering to tropes and conventions within your genre. We’re book doctors, but we want other editors to read our books, too. David has been working on a novel for ten years–he’s on his 90th draft (yes, 90!) — and he has paid four trained professionals to look at his book.

    You can find a professional editor no matter how small your budget. If your budget isn’t big, we recommend asking booksellers or librarians who know your genre. There are freelance editors who once worked at publishing houses.

    But buyer beware! Do your research before you give anyone your money.

    NaNoWriMo Pitchapalooza and more!

    At the end of the video we share a bit about the live NaNoWriMo Pitchapalooza happening on February 28, 2017. We hope you’ll be able to join us on YouTube at 4PM PST. You can participate live at this link. If you can’t watch live, a recording will be available.  Learn more about NaNoWriMo Pitchapalooza here.

    We’re also offering a free webinar (worth $75) for anyone who buys our book between now and March 15, 2017. You can learn more by watching the video or reading this post.

    JOIN OUR NEWSLETTER TO RECEIVE MORE TIPS ON HOW TO GET PUBLISHED.

     

  • Katherine A. Sherbrooke on Diagramming Sentences, GrubStreet, Memoir & Fiction

    Katherine A. Sherbrooke on Diagramming Sentences, GrubStreet, Memoir & Fiction

    As book doctors, we have the privilege of traveling all over the country and connecting with organizations that help writers get successfully published. We’ve been hearing about GrubStreet for years, and when we started investigating, we found out what an amazing organization it is. So when we discovered that Katherine A. Sherbrooke, GrubStreet’s board chair, was coming out with a new book, Fill the Sky, we thought we’d pick her brain about writing, writers groups, and the joys and perils of switching from memoir to fiction.

    Read the interview on the Huffington Post.

    Katherine A. Sherbrooke author
    Katherine A. Sherbrooke (Photo: Melissa Forman)

    The Book Doctors: We understand you’ve always wanted to be a writer since you were a kid. Why in God’s name would you want to be a writer?

    Katherine A. Sherbrooke: I suppose in the same way a kid watching the lunar landing decides they want to be an astronaut, or the way the 1980 Winter Olympics spawned legions of hockey players. Witnessing something extraordinary makes you want to do it. Reading books transported me in that way. Plus, I’m claustrophobic and afraid of heights, so space travel was definitely out.

    TBD: What were some of your favorite books as a kid, and why?

    KS: I vividly remember being mesmerized by James and the Giant Peach, and The Lion the Witch and the Wardrobe, I suppose in part because they opened my eyes to the power of imagination combined with ink and paper. One of my all-time favorites had to be The Velveteen Rabbit. Its metaphor of fraying fur and missing buttons as proof of love, of being real, moved me deeply.

    TBD: How did you learn the craft of writing?

    KS: I was blessed with incredible English teachers in my early days, and built a strong foundation for writing through (don’t laugh) diagramming sentences until I was blue in the face, and later learning the art of a well-written essay and the importance of good structure. While that gave me a certain confidence with the written word, creative writing requires a whole added set of skills. The first teacher was good novels, reading a lot of them. The rest I learned at GrubStreet, mostly getting feedback on my work from other writers so I could hear first hand what techniques were working and which ones weren’t.

    TBD: Tell us about GrubStreet and your involvement with it. What have you learned about writing and writers from being involved with this organization?

    KS: GrubStreet is one of the largest creative writing organizations in the country, open to writers of all levels. It is an organization that believes deeply in the power of narrative to transform us as humans, and the desperate need for us to hear stories from all walks of life, a mission very close to my heart. So I fell in love with them from the minute I walked in the door and immediately wanted to help. From a writer’s point of view, I describe GrubStreet as the lifeline of my creative pursuits. Many people think of writing as a lonely endeavor, and I suppose the actual act of sitting down and putting thoughts on paper can feel that way, but there is much more to the process than that if you are willing to give and accept help. I have found the most incredible community of writers at GrubStreet. This is a group of amazingly talented and generous people who truly want to help each other succeed. I have learned everything I know about what it takes to actually complete a novel and get it out into the marketplace through classes, conferences and the community at Grub.

    TBD: You’re also an entrepreneur. We are too. What did you learn about being a writer by inventing and running a business?

    KS: My co-founder of Circles used to say that there is a fine line between entrepreneurs and mad men: they both see things that aren’t there. Writing is the same. You have to believe that what you have to offer has a place out there in the world, even when it’s not finished, even if it doesn’t fly off the shelf at first. Entrepreneurship, in my view, takes a whole lot of really hard work, a good measure of luck, a legion of people keen to help the project succeed, and a willingness to take a deep breath and fling yourself off the cliff. Trying to get a book out into the world isn’t much different. Or maybe I’m still just crazy.

    TBD: Your first book was a memoir, and it was about your family. After David’s memoir came out, his family didn’t speak to him for five years. What were some of the dangers and joys of writing and publishing your memoir?

    KS: My parents had a classic, tumultuous love story leading up to their marriage that they would occasionally indulge me or my siblings by telling. We had each heard different snippets, but none of us had all the detail, all the various pieces. When my mother was overcome by dementia, I realized that I had to sit down with my father (who thankfully has an iron-clad memory) and get the whole story on paper before it was too late. The best part were the hours of conversation I had with my dad about his younger days, including touring through every corner of Newark, NJ with him to set the scene: where he grew up, his high school, his father’s old tavern, where they went on dates, etc. I walked away with much more material than fit in the book, but they were conversations I might never have had without that impetus. On the flip side, handing my own version of my parent’s love story back to my father to read was terrifying. Thankfully he loved it. He emails me all the time to tell me he stayed up all night to read it again.

    TBD: How was it transitioning from writing non-fiction to being able to make stuff up and create a novel?

    KS: Really hard! As restrictive as the requirement to stick to the facts felt at times while I was writing the memoir, I was handed a great cast of characters, a fantastic plot, and a setting that I didn’t have to invent. I added a little research to corroborate what my father had told me, and voila, my book was born. When I turned to fiction, having absolutely no boundaries on any of that made the process much harder, and take much longer. That said, it is really satisfying to have a new plot point or a new character pop into my head while I’m out for a walk and suddenly know that my story has taken a turn for the better. And having the license to explore through fiction things that have never actually happened to me is pretty amazing.

    Fill the Sky: A Novel by Katherine A. Sherbrooke book cover
    SIXONESEVEN BOOKS

    TBD: What was your inspiration for your new novel Fill the Sky?

    KS: I love reading books that take me to a place or time I have never been to so I can learn through the ease of a great story. I was beginning to hunt around for a book idea when I happened to go on a trip to Ecuador with a group of friends to spend some time with local shamans. The trip was a life-changer for me, and it struck me as an incredible and unique setting for a novel. The premise is fictional (we didn’t travel there for health reasons) but all the rituals in the book save one are things I have actually experienced.

    TBD: What is your next project?

    KS: I’m at work on another novel. Stay tuned.

    TBD: We hate to ask you this, but what advice do you have for writers?

    KS: Find trusted readers, people who are willing to read your entire manuscript and give you honest and detailed feedback. They do not have to be writers; in fact, some of the best input can come from avid readers. But don’t just do this because you want applause and adoration. It is really important to be open to their feedback. It can be very hard to hear that a scene that had you weeping while you wrote it barely registered with your reader, or that your favorite character leaves them cold (and you may need several days or weeks to process what they have to say), but that is precisely the kind of input you want. I find it very hard to see my work for what it is without the guiding hands of intelligent readers. They are worth their weight in gold.

    Katherine A. Sherbrooke received her B.A. from Dartmouth College and M.B.A. from Stanford University. An entrepreneur and writer, she is the author of Finding Home, a family memoir about her parents’ tumultuous and inspiring love affair. This is her first novel. She lives outside Boston with her husband, two sons, and black lab. Visit her online at www.kasherbrooke.com, Facebook, or Twitter.

    JOIN OUR NEWSLETTER TO RECEIVE MORE INTERVIEWS AND TIPS ON HOW TO GET PUBLISHED.  

  • Seventh Annual NaNoWriMo Pitchapalooza

    Seventh Annual NaNoWriMo Pitchapalooza

    NaNoWriMo Pitchapalooza 2017 on YouTube live

    NaNoWriMo + The Book Doctors + Youtube = Pitchapalooza 2017

    You wrote your 50,000 words (or got pretty close!). You’re a winner. You felt the high. Now what are you going to do with your precious manuscript? That’s where we come in.

     

    For those of you not familiar with Pitchapalooza, here’s the skinny: You get 250 words to pitch your book. Approximately 20 pitches will be randomly selected from all submissions. We will then critique the pitches during a live webinar on February 28, 2017 at 4PM PST, so you get to see what makes a great pitch. At the end of the webinar, we will choose one winner from the group. The winner will receive an introduction to an agent or publisher appropriate for his/her manuscript.

     

    Beginning January 11, 2017, you can email your pitch to nanowrimo@thebookdoctors.comPLEASE DO NOT ATTACH YOUR PITCH, JUST EMBED IT IN THE EMAIL. All pitches must be received by 11:59PM PST on February 14, 2017.

     

    We will also crown a fan favorite who will receive a free one-hour consult with us (worth $250). On March 1, 2017, 25 random pitches will be posted at our website. Anyone can vote for fan favorite, so get your social media engine running as soon as the pitches go up! Voting closes at 11:59PM PST on March 15, 2017. The fan favorite will be announced on March 16, 2017.

     

    If you purchase a copy of our book, The Essential Guide To Getting Your Book Publishedby March 15, 2017, we’re offering an exclusive one-hour webinar where you’ll get the chance to pitch your book (worth $75). Just attach a copy of your sales receipt to your email and we’ll send the link to the webinar dates.

     

    It’s been a great year for past NaNoWriMo Pitchapalooza winners. Gloria Chao, sold her novel American Panda (think My Big Fat Greek Wedding meets Amy Tan) to Jennifer Ung at Simon Pulse/Simon & Schuster. Publication is planned for Spring 2018. Stacy McAnulty,  got a three-book deal from Random House for The Dino Files series. Her third book, The Dino Files: It’s Not a Dinosaur, was released this year.
    Are you feeling a little unsure about exactly how to craft your pitch? Keep reading.
    [themify_button style=”large red rect” link=”https://www.youtube.com/watch?v=9aFbRoEzkJM&feature=youtu.be” ]Watch NaNoWriMo Pitchapalooza[/themify_button]

    10 Tips for Pitching

    1. A great pitch is like a poem.  Every word counts.
    2. Make us fall in love with your hero.  Whether you’re writing a novel or memoir, you have to make us root for your flawed but lovable hero.
    3. Make us hate your villain.  Show us someone unique and dastardly whom we can’t wait to hiss at.
    4. Just because your kids love to hear your story at bedtime doesn’t mean you’re automatically qualified to get a publishing deal. So make sure not to include this information in your pitch.
    5. If you have any particular expertise that relates to your novel, tell us. Establishing your credentials will help us trust you.
    6. Your pitch is your audition to show us what a brilliant writer you are, it has to be the very best of your writing.
    7. Don’t make your pitch a book report.  Make it sing and soar and amaze.
    8. A pitch is like a movie trailer.  You start with an incredibly exciting/funny/sexy/romantic/etc. close-up with intense specificity, then you pull back to show the big picture and tell us the themes and broad strokes that build to a climax.
    9. Leave us with a cliffhanger.  The ideal reaction to a pitch is, “Oh my God, what happens next?”
    10. Show us what’s unique, exciting, valuable, awesome, unexpected, about your project, and why it’s comfortable, familiar and proven.

    JOIN OUR NEWSLETTER TO RECEIVE MORE INTERVIEWS AND TIPS ON HOW TO GET PUBLISHED.  


  • The Essential Guide to Getting Your Book Published e-book is $1.99 for a limited time

    The Essential Guide to Getting Your Book Published e-book is $1.99 for a limited time

    The Essential Guide to Getting Your Book Published e-book is $1.99

    Update: This promo has expired. Join our mailing list to learn about future discounts and receive free information about how to get successfully published.

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    Congratulations NaNoWriMo Nation! To celebrate your win, our e-book is $1.99 for a limited time.

    The only book a writer needs, now completely revised and updated to reflect the ongoing and unprecedented changes in publishing. Our book has been praised by industry professionals, bestselling authors and dozens of aspiring authors who have used it to turn their dream of publishing a book into a reality.

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    “I started with nothing but an idea, and then I bought this book. Soon I had an A-list agent, a near six-figure advance, and multiple TV deals in the works. Buy it and memorize it. This tome is the quiet secret of rockstar authors.”

     Timothy Ferris
    New York Times bestselling author of The 4-Hour Workweek: Escape 9-5, Live Anywhere, and Join the New Rich

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    This step-by-step guide demystifies the publishing process

    How to:

    • Come up with a blockbuster title
    • Craft an attention-getting pitch
    • Create a selling proposal, find the right agent
    • Understand a book contract and royalty statements
    • Develop sales, marketing and publicity savvy
    • Self-publish, if that’s what you choose

    New information on marketing strategies:

    • Connect with your community and build up a following online via social media
    • Create a search-engine-friendly title
    • Produce a video book trailer
    • Make, sell and distribute an e-book (as well as information on ebook royalties)
    • The latest on print-on-demand and other self-publishing technologies

    The Essential Guide To Getting Your Book Published includes interviews with hundreds of publishing insiders—agents, editors, publicists, social media experts, booksellers and more. And of course authors. You’ll hear from Margaret Atwood, Neil Gaiman, Amy Bloom, Seth Godin, Susan Orlean, Dan Ariely and many many more.

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    • Inspirational publishing success stories
    • Dozens of insider tips
    • Sample proposals
    • Sample query letters
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    The Essential Guide to Getting Your Book Published is more vital than ever for anyone who wants to mine that great idea and turn it into a successfully published book.

    Buy the e-book for $1.99

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  • How Not to Get Hacked

    How Not to Get Hacked

    One of the joys of being a book doctor is that we get to meet so many cool and unusual people who give us a constant education. So when Sean M. Bailey approached us about his book regarding the perils of being hacked, and what to do about it, we were overjoyed. As we watch the horrors of Hillary’s Hackgate unfold, it became clear that no one was immune. Now that his book, Hack-Proof Your Life Now!, is out, we thought we’d pick his brain about what the hack to do regarding the safety of our electronic life.

    Read the interview on the Huffington Post.

    Sean M. Bailey, author of Hack-Proof Your Life Now!

    The Book Doctors: Someone recently broke the Internet by hacking into Dyn. Please explain how that could happen, and what can we do to protect ourselves?

    Sean Bailey: In Kurt Vonnegut’s Cat’s Cradle, the military creates something called “Ice-9,” which gets out of control and causes all water on the planet to freeze and only melts above 114.4 F degrees. Now imagine a digital version of Ice-9 where suddenly the entire World Wide Web “freezes.” We had a glimpse of what that might be like with the Dyn attack. It’s a scary development and especially tough to stop.

    It opened up people’s eyes because the hackers hijacked unsecured, web-connected devices like DVRs and video cameras to flood Dyn’s servers, which play a critical role in managing web traffic to big websites like Amazon and Twitter. Here’s how they did it: Those devices are protected with passwords, just like smartphones, tablets, and computers. But people who bought those devices NEVER changed the passwords from the default setting they had when they left the factory. The hackers knew that and developed a malware program that could identify these devices and enslave them into a robot network of about 100,000 devices. The hackers then trained those devices to shoot requests for information at the Dyn servers and by doing so, overwhelmed those servers to the degree that people who legitimately wanted to get to websites like Amazon or Twitter could not access those pages. Even though those websites were open and operating normally, people couldn’t reach them. It would be like driving to the mall on the highway but discovering the exit ramp was closed—you could see the mall was open but you just couldn’t get there.

    The Dyn attack is a poignant reminder, again, of the importance of good, strong passwords. Now we can see that that rule applies beyond our smartphones, tablets, and computers to now include any devices in our homes that connect to the Internet.

    TBD: There is so much hysteria and hype about Internet security, including of course the presidential election, and Hillary’s hacked emails. Do you think the average Joe or Jane has a chance of getting hacked, and what could be the consequences?

    SB: Hackers never sleep. They blast out 94 billion dangerous spam emails every day. Everyone is vulnerable. One wrong click can cause you to stumble into a variety of nightmares including identity theft, blackmail, or unwittingly enslaving your computer to a criminal robot network. I think everyone knows someone who’s been hacked or ensnared in a computer scam. The consequences range from spending dozens of hours trying to fix an identity-theft stained credit report, to paying a $500 to $1,000 ransom to blackmailers who seized your computer, and all the way to the workplace where companies have seen hundreds of thousands, even millions, of dollars disappear from their bank accounts that have been breached by cyber thieves.
    Of course, during the recent election, we’ve seen the devastating impact of having one’s email hacked. Our emails contain tons and tons of sensitive, private personal and business information that potentially can ruin relationships and businesses.

    TBD: Give us three simple things we can do so we don’t get hacked.

    SB: Here are three easy things you can do to quickly boost your security and reduce the likelihood of getting hacked.

    First, stop using your personal email address for your online banking and credit accounts. Create a “financial-only” email address that you use just for your online financial transactions and activities. That way, that important email address is not sitting on dozens, even hundreds, of websites exposed to data breaches and hacks. You don’t want the bad guys to have the first step to logging into any of your financial accounts.

    Second, turn on two-step login (two-factor authentication) on your email and bank accounts. That way, should a hacker ever begin trying to break in to your accounts, you’ll receive a notification code on your phone. The hackers will never get the code because it’s on your smartphone and you’ll be tipped off that something is happening.

    Third, put a security freeze, also known as a credit freeze, on your credit files at Experian, Equifax, and Transunion. This takes just a couple of minutes and it ensures that no identity thief can take out credit in your name. When your files are in a “freeze,” no new credit can be added unless YOU lift the freeze with your own personal PIN.

    Hack-Proof Your Life Now! by Sean M. Bailey

    TBD: What were some of the difficulties of putting together a book of practical nonfiction? 

    SB: I think the biggest challenge is breaking down scary-sounding, and occasionally complex, concepts into easy to understand actions and then motivating the reader to act.

    In Hack-Proof Your Life Now!, we’re trying to deliver on our promise of “online security made easy for everyone.” It’s true, we’re no longer in the innocent “you’ve got mail” era. It’s much more serious. Our computers and devices are connected to everything. That’s fine, even good, as long as everyone realizes they need to adopt a certain number smart security activities. It’s not unlike driving a car. You need to do a few important things to keep your car in good running order and you always need to follow common-sense actions when you’re operating your car out in the world. It’s the same for using our Internet-connected devices.

    Another challenge was making the book fun, action-oriented and accessible. Cybersecurity is regularly cast as a dark, dangerous underworld of hooded miscreants looking to ruin our lives and drain our bank accounts. That’s partly true and contributes to people feeling overwhelmed and frightened by the topic. Our challenge was to show the reader how to break through that inertia. In the beginning of the book, the reader measures their “cybersecurity score.” Normally, people score very low. But we then lead the reader through taking a handful of simple actions that quickly boost their security and give them confidence and knowledge that being secure online is completely possible.


    TBD: Did you find that writing a book based on your business helped you to articulate even further exactly what you do? Has this helped your business as a result?

    SB: The book grew out of a workshop we created for the public called “One Hour to Savvy Cybersecurity.” The reception from the workshop, presented hundreds of times in the U.S. and Canada, told us we needed to find a way to get our message to the wider public.

    Going to the next step of writing a book just forced us to continue to struggle with refining and organizing our cybersecurity concepts so that the reader could see a clear, easy path to taking action.

    Cybersecurity is a very big, sprawling topic. Many books on the topic focus on crime, the underworld, terrorism or cyberwar—all informative, even entertaining. Some books that focus on personal security deliver long, comprehensive lists of threats and 50, 60, 70 things we should do to stay safe.

    People will usually throw up their hands when faced with a huge list of possible threats and actions. So writing Hack-Proof Your Life Now! meant continually honing our recommendations to the most important, do-able actions people can take to boost their online security. By doing that, it’s also caused us to see more deeply into the topic and identify other areas where we can take our “online security made easy for everyone” mantra. For instance, business owners and executives face a separate group of actions in order to “hack-proof” their enterprises. So writing the book, and struggling with what to exclude rather than include, crystalized in our minds new areas of focus for the future.

     
    TBD: Our children are on our computers all the time downloading who knows what. How do we protect ourselves from our kids and how do we make our kids aware of the risks?
     

    SB: Hack-proofing your kids is a second order of business many of us face once we’ve protected ourselves. Any family that is sharing a computer with young children needs to restrict the ability for the child to download files and programs on their own. (Just search Google for “how to restrict downloads” for your computer’s operating system.) If you don’t do that, your child can easily download dangerous malware when they think they’re actually getting something that will help with a game like Club Penguin or Minecraft. For teenagers, learning good cybersecurity is right up there with safe sex and driving skills—key things you must learn as you approach adulthood.


    TBD: How did you get into the business of helping people not get hacked?

    SB: My company, Horsesmouth, helps financial planners deliver financial education in their communities. It’s our mission to help people make the right decisions about the complex financial decisions they face in life, including protecting their identities and finances from fraud. After the infamous Target breach in 2013, we realized no one in the public’s life acts as a guide, or professional “nudge,” to encourage people to boost their online security.

    It became our aim to help Internet users quickly and easily boost their online security, especially those worried about identity theft, concerned about hackers getting into their email and bank accounts, and people who want to use the Internet with confidence that they’re in control of their safety, not the hackers.

    So we created a workshop called “One Hour to Savvy Cybersecurity.” It is based on surveying more than 1,500 people. The workshop has been delivered hundreds of times in the U.S. and Canada to rave reviews.

    During our research, we discovered that people can actually quickly and easily boost their online security. How we do this is by getting people to measure their current “Cybersecurity Score” and then showing them simple, clear, and effective action steps they can take right now to dramatically boost their safety—usually for little or no cost.


    TBD: What’s the worst hacking story you’ve come across?

    SB: Wow. We run into new stories every day. For instance, last week I had two friends, within two hours, tell me identical stories about getting lured into the phony Apple Tech Support scam. Don’t ever respond to a pop-up on your screen telling you to contact any organization because you have a “virus.” It’s a scam. Just close your browser, and if you still have any trouble, restart your computer. Whatever you do, don’t call them.

    The worst stories these days involve the growing ransomware threat. This happens when people click on a fake email link that suddenly encrypts their computer and demands ransom in order to get back access to their computer and its files. It happened to a colleague, right in front of us, while we were writing the book. It happened last week to an entire hospital in the U.K., causing the cancellations of surgeries, closing of their emergency room, and cancellation of nearly all doctors’ appointments. Totally devastating. And it happened because one person clicked on a dangerous link. In our book, we teach the “10-Second EMAIL Rule” where EMAIL stands for “examine message and inspect links.” It’s an easy system to remember and it shows you how to unmask the true identity of someone sending a suspicious email and see the true destination of the dangerous link they’re trying to get you to click.

    TBD: What’s one simple thing we can do to better protect our smartphones? 

    SB: Everyone should put the strongest passcodes on their smartphones and tablets. The strongest codes are the six-digit options. Most phones started with a four-digits. When you change from four digits to six digits, you increase the possible combinations from 10,000 to one million, which makes cracking your code much harder.

    TBD: We hate to ask you this, but do you have any advice for writers?

    SB: For writers, I’d offer two bits of important advice. First, start using a “cloud service” to routinely and automatically back up your files to the cloud. When you set up one of these services, such as Drobox or Google Drive, your files are saved locally to your computer and also out on the web, in “the cloud.” Once you set it up, you don’t need to do anything special. It’s a safe, easy, and affordable way to always have backup copies of your files. If you ever click into a ransomware scam—where hackers encrypt your computer and hold it for ransom—you can ignore them and retrieve your files from the cloud.

    Two, we all need to change our views about updating software and do it all the time—routinely. That’s because many hackers exploit dangerous security holes in widely used software programs. If you visit a malware-infected website, the hackers’ program can tell if your programs are not updated and quietly slip a malware program onto your computer. Then you’re in trouble and you might not even know it. Updating your software is the one thing nearly all security experts do religiously. That’s because they know that the software updates are closing security holes that could inflict serious damage to them and their computers and devices. You can set many of your most important software programs to automatically update.

    Sean M. Bailey is the co-creator of the Savvy Cybersecurity training program, an interactive workshop to teach people to boost their online security. He is the co-author, along with Devin Kropp, of Hack- Proof Your Life Now! The New Cybersecurity Rules: Protect your email, computers, and bank accounts from hacks, malware, and identity theft.

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  • Query Letter Webinar & Critique

    Query Letter Webinar & Critique

    This Query Letter Webinar was held on December 1, 2016

    See the replay of the query letter webinar here:

    The query letter is an author’s first arrow in their assault on the castle surrounding the Kingdom of Bestsellers. The Book Doctors are constantly shocked by how many great writers write terrible query letters. Agents and publishers are overwhelmed and inundated; if they don’t fall in love with your query letter, you’re going to get one of those horrible generic responses which, no matter how much sugar they put on it, basically tells the author to drop dead.

    This webinar will break down everything you need to know about the query letter, and we will deconstruct and critique (in our kind and gentle way) participants’ randomly selected query letters.

    This webinar is FREE to view. To submit your query letter for possible critique, please send it to david@bookdoctors2.pairsite.com. Include “query webinar submission” in the subject line.

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    SUBSCRIBE to our YouTube channel for tips on how to successfully publish your book.

    Our book, The Essential Guide to Getting Your Book Published takes you through the entire process of conceiving, writing, selling, marketing and promoting your book.

  • Suzanne Trauth on Writing, Publishing, and the Secret to Getting a Three-Book Deal

    Suzanne Trauth on Writing, Publishing, and the Secret to Getting a Three-Book Deal

    We met Suzanne Trauth when she participated in our Pitchapalooza (think American Idol for books except kinder and gentler) at Watchung Booksellers. She pitched a piece of women’s fiction, which eventually morphed into a cozy mystery, and then she turned that mystery into a three-book deal with Kensington Books. Now that the first book, Show Time, is out, we thought we would pick her brain on writing, publishing, and getting a book deal.

    Read the interview on the Huffington Post.

    Suzanne Trauth, author
    Suzanne Trauth (Photo: Steve Hockstein, Harvard Studio)
    The Book Doctors: You’ve written plays, screenplays, nonfiction, and now a mystery series. In what ways do you differ in your approach to writing in these different genres, and in what ways are they the same?

     

    Suzanne Trauth: I wrote in different genres at different points in my life. I wrote nonfiction works during my career as an academic theater professor. I also started writing screenplays during that period. But toward the end of my academic career, I segued into writing plays and novels. Though the writing varies widely, the basic approach is the same: sitting down in front of a blank screen and facing my fears that nothing will happen!

    The nonfiction work required immense research and outlining; some of the plays required research, others less so. But all of them demanded character backstories and story arcs. Plays are developed in readings with actors, so as a playwright, I have had the opportunity to write and rewrite based on the discoveries that have come from the production process. With novels I share drafts with a “first reader” and an editor.

    TBD: What made you decide to write a mystery series? What was the process like?

     

    ST: I had worked on a serious novel for a number of years and decided I needed a break. So I chose to write a book that I thought was fun, a story about a group of women in a small town solving a mystery. But an editor indicated that I was writing between two genres and suggested I pick one! I chose the mystery angle on the novel and went from there. When I pitched the book to the publisher, I suggested it could be a series.

     

    I have discovered that in writing a mystery novel—in addition to the elements present in all fiction—I had to thread clues and red herrings throughout the manuscript. After I finished a draft, I’d have to start at the beginning again and make sure I’d included enough evidence to keep my protagonist on the crime-solving path.
    Show Time by Suzanne Trauth book cover
    Kensington Books
    TBD: How did you go about finding a publisher for your book?

     

    ST: I was very fortunate to work with a wonderful editor for Show Time, my first book in the mystery series. He recommended I approach Kensington Books, the publisher, who subsequently took on the series. The first book Show Time came out in July 2016; Time Out is due in January 2017; and Running Out of Time will follow later in 2017.
    Time Out by Suzanne Trauth book cover
    Kensington Books
    TBD: What were some of your favorite books as a kid? What are you reading now?

     

    ST: I read constantly as a kid, mostly biographies and mystery stories: Nancy Drew, Trixie Belden, the Bobbsy Twins. I loved their adventures! Now I am in a book club with terrific readers and we sample a variety of books. Most recently we read Kate Atkinson’s Life After Life and A God in Ruins. We also read Elena Ferrante’s My Brilliant Friend and Cynthia D’Aprix Sweeney’s The Nest. These are such good friends that they even read my mystery Show Time for one meeting!

     

    TBD: Theater is such a collaborative process, and in many ways writing books seems like such a solitary one. What are the joys and difficulties of both?

     

    ST: Theater is an exciting, frustrating, exhilarating experience. I loved directing for many years but when I started writing plays, I discovered I preferred to be the author, the originator of the material, rather than the interpreter of the material. Which I feel is, to a degree, the job of the director. I love seeing my plays come to life onstage, to see my words come out of the mouths of talented actors.

     

    At the same time, there is something so rewarding in sitting down alone at the computer and creating characters’ lives out of thin air. For me, when I write a novel, I am allowing the characters to breathe, to live through time. Plays are more an outline of a story. So much has to be communicated through subtext as well as text.

     

    I enjoy the solitary time writing a novel, but at some point, I am usually ready to move into a rehearsal studio to take a break from creating alone. I am a mix of the hermit and the social butterfly! I flit from one genre to the other…

     

    TBD: You’ve also taught writing. What have you learned from teaching people how to write? And in the end, do you think you actually can teach people to write?

     

    ST: I taught screenwriting courses when I was still an academic in a theater program. I think teaching anything gives you the opportunity to learn a discipline all over again. In putting material out there for others, you are forced to deconstruct what you think you know. And, of course, there are always students who are bright and savvy and bring more to the table than I, as teacher, ever could! So I relearned how to construct a three-act arc, develop characters, move a story forward, and experiment with dialogue because I was requiring student writers to do the same.

     

    Can you teach people to write? I feel there has to be a spark of creativity present. But I do think if you provide appropriate tools, a nurturing environment, specific feedback, and deadlines (!) you can lead someone down a path that will improve their writing and train them to pay attention to craft. That happened to me with great mentors and editors.

     

    TBD: How do you tackle the challenges of writing a book that’s part of a bigger series? How do you ensure that these books stand alone, and yet are part of something bigger?

     

    ST: It is a challenge! I guess the answer has been creating a balance between including pieces of book one in book two, and generating all new material. The characters, setting, and basic mystery elements are consistent from book to book, but enough explanation needs to be provided in later books to prevent confusion and provide clarity. For example, my editor—a wonderful guy—suggested I clarify how my protagonist ended up in the small town where she lives. In book one, it was a significant piece of information, and I needed to make sure if someone reads book two without reading book one, the story would be clear.

     

    TBD: What was it like to interview all those people after Katrina? What did turning those interviews into a piece of theater teach you about writing and humanity?

     

    ST: It was an amazing experience talking with New Orleans’ residents in 2007, two years after Hurricane Katrina. I have always maintained that the folks we interviewed found us; we didn’t find them. We went to New Orleans with a handful of names and they started to connect us to other people. Family and friends gave us names…the process snowballed. Pretty soon we had enough material for the play, which focused on the events leading up to the destruction in New Orleans and then the aftermath and the tremendous spirit of the people there. There is something special about New Orleans…not just the food and the music and the party atmosphere. There is a spirit of celebration and the feeling that home is a sacred place to the citizens of the city. My co-author and I learned that people have amazing resilience and generosity and heart…not just in dealing with Katrina but also in supporting our efforts to write the play. Needless to say, New Orleans is one of my favorite cities.

     

    TBD: How did Pitchapalooza help you?

     

    ST: When I did Pitchapalooza in Montclair, New Jersey, I had just begun the book that would become Show Time. But I needed to work on the genre. I kept characters and setting and revised the story elements. But the Pitchapalooza forced me to stand up and pitch the book! To face an audience of other writers and readers and sell my story. That experience prepared me for what was to come later. Recently, I was at a mystery writers convention and I had several occasions to pitch my book to potential readers—introducing the book, giving a two minute overview, etc. I learned a few things about engaging an audience in a short amount of time through my pitching session in Montclair.

     

    TBD: We hate to ask you this, but what advice do you have for writers?

     

    ST: Write what you love and don’t ever give up. Try to ignore the rejection and keep your eye on the prize! Persist, persist, persist…

     

    Suzanne Trauth’s novels include Show Time (2016) and Time Out (2017), the initial books in a new mystery series published by Kensington Books. Her plays include Françoise, nominated for the Kilroy List; Midwives developed at Playwrights Theatre of New Jersey; Rehearsing Desire; iDream, supported by the National Science Foundation’s STEM initiative; and Katrina: the K Word. Suzanne wrote and directed the short film Jigsaw and is a member of the Mystery Writers of America, Sisters in Crime, and the Dramatists Guild. www.suzannetrauth.com

     

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  • Jonathon Keats on Buckminster Fuller, Being a Critic, a Writer, and How to Get Unusual Books Published

    Jonathon Keats on Buckminster Fuller, Being a Critic, a Writer, and How to Get Unusual Books Published

    We first met Jonathon Keats many years ago, and we were immediately struck by what an eclectic set of interests he had, and what amazing bowties he wore. He’s working on a couple new projects, and his book You Belong to the Universe: Buckminster Fuller and the Future came out this year, so we picked his brain about philosophy, lighting, publishing, and how to get strange and beautiful books published.

    Read the interview on the Huffington Post. 

    Jonathon Keats, author
    Jonathon Keats (Photo: Jen Dessinger)

    The Book Doctors: First of all, tell us about your new book.

    Jonathon Keats: I’ve written a book that explores the legacy of Buckminster Fuller, a visionary inventor and architect who styled himself as a comprehensive anticipatory design scientist. Fuller spent much of the 20th century striving “to make the world work for one hundred percent of humanity.” His visionary thinking led most famously to his invention of the Geodesic Dome, but I believe his deeper legacy was as a pioneer of what we now refer to as world-changing ideas. Many of these – such as visualizing global resources and gaming world peace – were not possible in Fuller’s lifetime but have become feasible since his death in 1983, and are now urgently needed to meet the growing demands of an exploding world population.

    My ambition with this book is to revive Fuller’s comprehensivist approach to framing and addressing colossal problems. Along the way I delve into his life story and personal eccentricities. This is a man who seriously proposed to make cars with inflatable wings and to build a dome over Manhattan. He was equal parts genius and crackpot, and I believe we need to consider all aspects of his character if we’re going to responsibly revive comprehensive anticipatory design science in our own time.

    You Belong to the Universe: Buckminster Fuller and the Future by Jonathon Keats book cover
    Oxford University Press

    TBD: How exactly does one go about becoming a professional conceptual artist and experimental philosopher?

    JK: It happened by default. I studied philosophy in college, but ultimately found it too stiflingly academic. So I sought ways in which to do philosophy in public, engaging the broadest possible audiences in questions that ultimately concern everyone: questions about what we value in life and what kind of future we want.

    For instance, I recently designed a camera with a hundred-year-long exposure. Hundreds of these devices have been hidden in cities worldwide. You might think of them as surveillance cameras, invisibly watching over the decisions we make. They’ll reveal our activities to future generations that have no way of influencing us yet will be impacted by many of the choices we’re making today.

    I’ve found the art world to be the most permissive realm in which to undertake these large-scale thought experiments. If I’m a conceptual artist, it’s really a matter of convenience. Conceptual art provides cover for doing what I’ve always done, which is to systematically question everything.

    TBD: What has being a critic taught you about writing?

    JK: Criticism keeps me honest. It exposes me to other work and helps me to examine my own work at a distance.

    TBD: How did you go about getting your book published?

    JK: This is my third book with Oxford University Press. My first book was about language and my second one was about forgery, and before those I wrote a collection of stories inspired by Talmud, which was published by Random House. My interests are eclectic and my writing reflects that. I suppose it can be a liability in terms of getting published, since publishers may be unsure of how to define me, but at a certain point, the eclecticism became a defining characteristic. My books all have in common the fact that they have nothing in common except my eclectic sensibility. Somehow it seems to work – and eclecticism turns out to be a good starting point for writing about a comprehensive anticipatory design scientist.

    TBD: What do you want people to take away from the book?

    JK: I want people to understand Buckminster Fuller’s way of thinking. Equally important, I want people to appreciate the limitations of his worldview. Fuller was a techno-utopian who believed that all problems could be solved by engineering. This assumption has become mainstream as companies like Google have come to dominate the planet. By seeing the ways in which Fuller failed – and there were many – we can be smarter about technology and how we engage the new economy.

    TBD: Tell us about the global warming ice cream project.

    JK: Maybe I should blame it on Fuller. He was obsessed with data visualization. Toward that end, he invented the Geoscope, a vast animated globe intended to reveal patterns ranging from cloud cover to human migration. While the Geoscope never got built, visualization has subsequently become increasingly mainstream. We’re increasingly immersed in big data, and we increasingly rely on visualization to model complex systems.

    Yet for all the benefits of visualization, we remain incapable of understanding many phenomena, from the accelerating expansion of the universe to the intricacies of climate change. So I started thinking about whether visualization was the only way of examining complex patterns, and I realized that there was another option. Instead of visualizing complex systems, we could gastronify them. In other words, we could eat our data.

    The human gut turns out to be a remarkably intelligent organ, second only to the brain in number of neurons. The enteric nervous system is also manifestly unlike our gray matter, as is suggested by talk about ‘gut feelings.’ By representing scientific models with digestible biochemicals instead of colored arrows, it’s possible to expose scientific phenomena to the alimentary canal, where they may be understood in terms that elude the brain.

    Over the past year, I’ve been developing a chemical language based on the effect of substances like vanillin and capsaicin on receptors lining the intestine. Practically any phenomenon can be represented, but I’m initially concentrating on global warming, transforming the carbon cycle and albedo effect into edible feedback loops. My gastronification of the global climate will be presented next month at the STATE Festival in Berlin, where it will be consumed not only by climate scientists but also the general public.

    I’ve chosen to serve the climate feedback loops in a specially-made sorbet, since ice cream seems to be universally popular and is bound only to become more so as the planet warms. Unlike the conundrum of dark energy, climate change needs to be understood by everybody because we need to act on it as a society. By consuming my sorbet, people may internalize the problem, emotionally confronting climate change through the enteric nervous system.

    Jonathon Keats's anthropocenic sorbet
    (Photo: Daniela Silvestrin)

    TBD: How does being a visual artist influence you as a writer?

    JK: I really don’t differentiate between the two modes of expression, at least at the outset. In some cases ideas are more effectively explored through narrative, while others can be examined more incisively through an object or installation. So for any given project, I decide on an approach that I think will be most generative. There are countless considerations – such as the trade-off between control and flexibility – but ultimately I work on instinct.

    And I’m also pretty promiscuous. Over the years I’ve made numerous artist’s books, and my installations inevitably involve language. Just consider all the words I’ve used to talk about data gastronification – and I’m only getting started.

    TBD: What were some of your favorite books as a kid, and why? What are you reading these days?

    JK: My favorite books as a child are still some of my favorites, and remain some of the most profound influences on what I do every day. Harold and the Purple Crayon showed me how to create an imaginary world with the simplest imaginable materials. Goodnight Moon taught me philosophy. (What to make of the page reading “Goodnight nobody”? I’m still trying to figure it out.) The light touch of the best children’s books allows them to probe deeper than most anything else ever written. In everything I do, I strive for that lightness. I have yet to achieve it.

    The books I’m reading today are often those that I’m reviewing. (The most recent is Time Travel by James Gleick.) Then there are new books by friends, such as Damion Searls’s excellent forthcoming history of the Rorschach Test, The Inkblots. And finally there are books I find myself rereading on a regular basis, always finding something I hadn’t previously noticed. One of those is Five Hundred and Seven Mechanical Movements by Henry T. Brown. (The title pretty well encapsulates what it’s about.)

    TBD: How would you improve the English language?

    JK: I think we could benefit immeasurably by adding to our relatively meager stock of tenses and moods. One addition that comes to mind in this election season is the faithful. It would work much like the conditional, only instead of indicating statements of possibility, the faithful would mark statements of belief. (Present: I have, you have, s/he has. Conditional: I would have, you would have, s/he would have. Faithful: I believe I have, you believe you have, s/he believes s/he has.) The widespread adoption of the faithful tense – especially the first person faithful – might lead to greater accountability not so much because politicians would actually use it but because we’d be more attuned to what they were avoiding.

    TBD: We hate to ask you this, but what advice do you have for writers?

    JK: The virtues of procrastination are greatly underestimated. I tend to do my most interesting work when I’m working on too many things and alternatingly procrastinating on all of them. Projects get mixed up in my head. Serendipitous connections occur to me. And serendipity is a pretty good proxy for creativity.

    Jonathon Keats is a writer, artist and experimental philosopher. He is recently the author of the story collection The Book of the Unknown (Random House), winner of the American Library Association’s 2010 Sophie Brody Medal, as well as Virtual Words: Language on the Edge of Science and Technology (2010) and Forged: Why Fakes are the Great Art of Our Age (2013), both published by OUP.

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  • Caroline Leavitt on Writing, Dangerous Love, Charles Manson, and Getting on NPR

    Caroline Leavitt on Writing, Dangerous Love, Charles Manson, and Getting on NPR

    When we first moved to New Jersey, we were lucky to meet a few local writers. One of them was Caroline Leavitt. We kept running into her at writers conferences and book festivals, and we became huge fans of her and her books. She is the quintessential writer’s writer. When we found out about her new book, Cruel Beautiful World, we picked her brain on the state of writing, publishing, and how the heck she got Scott Simon to interview her on National Public Radio.

    Read the interview on the Huffington Post.

    Caroline Leavitt with The Book Doctors

     

    The Book Doctors: We have often thought that it is a cruel beautiful world, so your title really captured our eye. How did you come up with that cruel and beautiful title?

    Caroline Leavitt: My 20-year-old actor son Max came up with it, and it seemed to fit, because I was writing about that time when the innocence of the ‘60s slammed into the dangerous reality of the ‘70s. I’m awful at titles. They always get changed by Algonquin. But this one seemed to stick. Plus, I’m like you. I think the word is so, so beautiful, with so much joy, but to appreciate that joy, you have to experience the absolute cruelty of it, as well.

    TBD: We heard you recently on NPR with Scott Simon. How did that interview come about, and what was it like to talk about your book with Mr. Simon?

    CL: My genius publicist got me on! It was a blast. Scott Simon is really calming and funny—and I was really happy that I was able to make him laugh. Plus, he asked such thoughtful questions. I was just so honored.

    TBD: What is your daily routine for writing a novel at this point? How many drafts did it take to get Cruel Beautiful World ready for publication? Do you rely on readers and editors to help along the way?

    CL: I try to write four hours every day. I have to know the beginning and the end, and I usually do a 30-page writer’s synopsis that changes every time I sit down to write. It took about 28 drafts for Cruel Beautiful World, maybe more, because I lost count, and it morphed into a very different book than what I initially thought it would be. I totally relied on my Algonquin editor, Andra Miller, who seemed to know what I needed to do before I did it. And I totally rely on other writers to read drafts and discuss things with me. I couldn’t do it alone.

    TBD: What was your inspiration, the diving board that led you to plunge into the pool of this book?

    CL: I wanted to write this story when I was 17. I sat behind a girl in study hall who had a much older fiancé who was controlling, which I thought was weird. Then a year later, she broke up with him and he stabbed her. I was horrified! But I couldn’t write about it because I kept wondering, how did she stay with someone for five years and not know he was capable of this? Ah, then ten years passed, and two weeks before my wedding, my fiancé dropped dead in my arms. I was so cataclysmic with grief that I knew I would die if I had to keep doing it. So against all advice, I hurled myself into a relationship with a man who wouldn’t let me eat (I was 100 pounds but he thought I was too heavy), monitored what I wore, didn’t want me to see my friends or his friends. Why did I stay? Because if I left, then I’d have to grieve. The final countdown was when I discovered he had deleted a page or so of my novel in progress and replaced it with a Groucho Marx series of jokes. When I protested, he said, “What’s yours is mine. We are the same person.”So I understood staying in a controlling relationship, losing yourself, but I didn’t have the novel until four years ago, when I noticed an online request from my high school friend’s sister. She was still haunted by the crime and wanted anyone who knew anything to talk to her. Then I had my story!

    "Cruel Beautiful World" by Caroline Leavitt book cover

    TBD: The novel seems to be in some ways about dangerous love, and about a strangely taboo subject in our culture: love in old age. What made you decide to tackle these topics?

    CL: See above for the dangerous love! Love in old age is my homage to my mom. She was jilted at 17, married my father, a brute, and when he died in his 50s, she swore off men. Hated them! She lived alone until she was 90, when she couldn’t handle the house and we moved her into an independent living place. She hated it, screamed at me to take her home. And then suddenly she didn’t. She met this man Walter and impulsively kissed him, and they fell in love—she told me “for the first time.” They were inseparable for four years, and then my mom began to get dementia. And after she did, Walter fell and died, and my sister and I never told our mother. So my mom, who is now 99, thinks he is still alive, that she has just seen him, that he is living with his kids and will call her soon. It’s kind of lovely how happy she is.

    TBD: We were watching Aquarius, David Duchovny’s new show, and one of the characters in it is Charles Manson. Why do you think we still have this intense fascination with a man who has a Nazi swastika carved into his forehead?

    CL: Because what you initially saw was not what you ended up getting. Manson looked just like any ‘60s hippie. He had all the extras. He lived on a communal ranch. He preached love and everyone was welcome. Even Dennis Wilson liked him and had Susan Atkins babysit his kids! The Manson Girls adored him. When you think of who he really was, it gets scarier because I keep thinking—I could have been a Manson girl in the ‘70s. So could a lot of girls. Manson still being alive and around fascinates us because he really is pure evil—this tiny little old man now—still scares us.

    TBD: David was coming of age in that strange period between the 60s and the 70s, when America went from being obsessed with flower power and the Grateful Dead to disco and cocaine. What draws you to this strange crossroads in American history?

    CL: Oh, I was coming of age then, too. I wanted to go out to San Francisco and wear flowers in my hair and “meet some gentle people” but I was too young. So I hung out at the Love-Ins in Boston with my older sister. There was such profound hope in the ‘60s, a sense that we really could change the world for the better. And then the ‘70s hit. And Nixon invaded Cambodia. And Kent State happened. And the Mansons. What happens when dreams turn into a reality you didn’t expect? Can you still find meaning in your life? That’s what really interested me.

    TBD: We work with so many writers who have a bizarre conception of what it is to be a writer: you’re suddenly filled with inspiration, you dash off your opus, and then you sit in your cabin by the lake while the royalty checks roll in. Of course, anyone who’s written a book knows it’s mostly sitting by yourself in a room, slogging away and trying to chisel out a work of art and commerce from a lump of clay you have to create with your imagination. As authors who’ve been writing for decades, we have to ask, why the heckfire do you do it?

    CL: I firmly believe if I didn’t do it, I would be insane. And also because I love the whole sensation of being in another world, of creating characters. Maybe I am a bit of a masochist, but I love the hard, hard work.

    TBD: We must confess that we’ve known Caroline Leavitt for quite some time, we are fellow New Jersey writers, and we know that she, like so many of our distinguished writer friends, spends portions of her life being terribly nervous. Why do you think that is?

    CL: Ha, that made me laugh! I think writers are perhaps more broken than the average person, that writing heals us. And, of course, that means, when we aren’t writing, we are searching for that stray Valium we just know was around here.

    TBD: When we were looking for a publisher for The Essential Guide to Getting Your Book Published, we turned down a much larger offer from one of the Big 5 publishing houses to go with Workman, an independent publisher. We believe our book would now be out-of-print, instead of in its third edition, if we had taken more money and gone with a publisher who really didn’t know how to reach our audience, one owned by a corporation whose guiding principal is profit as opposed to developing and nurturing writers. What are your thoughts about finding the right publisher for your book?

    CL: The right publisher is everything. I have had five (count ‘em) before I got to Algonquin. Two small ones went out of business. Three big ones ignored me. My sales were enough to buy groceries. When I got to Algonquin, everything changed. I kept saying, “You know I don’t sell, right?” And they kept saying back, “You will now.” Six weeks before Pictures of You came out, it was in its sixth printing. The month it was out, it was on the New York Times Best Seller List. All of a sudden I had a career, and the people who wouldn’t take my calls before were now calling me! I’ve never been treated so well. Algonquin respects their authors, they keep selling a book long after it’s been out—and they totally work out of the box, which gets amazing results. I call them the gods and goddesses for good reason.

    TBD: What are you currently writing? What are you currently reading?

    CL: I’m writing the first chapter of my new book, and I’m too superstitious to say anything about it. I’m reading Shelter in Place by Alexander Maksik, which is fabulous, and I have this book Idaho by Emily Ruskovich.

    TBD: We hate to have to ask you this, but we do. What advice do you have for writers?

    CL: Never ever ever ever give up. Never. Someone says, “no”? The next person might say, “yes.” And do not write to the marketplace. Write the book that speaks to you, that is going to change YOUR life. If your book can do that, well then, it will change the lives of others, too.Caroline Leavitt is the author of the Indie Next Pick Cruel Beautiful World, and the New York Times Bestsellers Pictures of You and Is This Tomorrow. She reviews books for the San Francisco Chronicle, The Boston Globe and People, and she teaches novel writing online at UCLA Writers Program Extension and Stanford, as well as working with private clients. She can be reached at www.carolineleavitt.com.

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  • Wordstock: Why Writers Need to Go to Book Festivals

    Wordstock: Why Writers Need to Go to Book Festivals

    As The Book Doctors, we travel around the country, going to book festivals, writers conferences, and independent bookstores, and we kept hearing about Wordstock in Portland, Oregon, one of our favorite cities. When we looked at the roster of presenters this year, we were blown away: Sherman Alexie, Dianne Abu-Jaber, Carrie Brownstein. And our old friend Cathy Camper, who won our Pitchapalooza at Powell’s, the iconic bookstore in Portland, and now has two graphic novels out with Chronicle. So we thought we would pick the brain of Amanda Bullock, the festival director for Wordstock, and get some inside skinny on what makes Wordstock tick.

    Wordstock: Portland's Book Festival, November 5, 2016, logo

    The Book Doctors: We travel the country presenting at writers conferences and book festivals, and we tell writers that these are one of the few places where you can actually get up close and personal with great writers, editors, and publishers. How do you see your mission at Wordstock as it relates to talented amateur writers who want to take the next step to become paid professionals?

    Amanda Bullock: Wordstock: Portland’s Book Festival creates community around literature through a one-day, intergenerational celebration of books, writers, and stories. Amateur and aspiring writers can participate in writing workshops to hone their craft; browse the bookstore to meet great local, regional, and national publishers and presses; and, of course, attend events featuring some of the most exciting contemporary writers to hear them speak about their own work.

    TBD: What can writers do to maximize their time at a festival like Wordstock?

    AB: I think at any festival it’s important to be open to serendipity and chance. One of the greatest things about the density of a festival is the sheer number of options — it can be intimidating to narrow things down, but it also means that if an event you hoped to attend is at capacity, you have so many other great choices. Make time not only to see on-stage events but to check out our pop-up readings in the Portland Art Museum galleries, to see some great local music, to sample the food carts and beer tent, and to shop the book fair. Pop into an event even if you haven’t read the author yet; you might find your new favorite book! There’s so much available.

    TBD: We like to tell writers that one of the best ways to become a better writer is to read great writing. We believe this also pertains to learning how to present their writing publicly. What have you observed writers do that makes their presentation more effective? What would you tell writers to avoid when they are presenting publicly?

    AB: I’ve seen probably thousands of literary events, and this is a tough one to put into words. There’re the basics, like practice (you’d be surprised), stick to your time and don’t go over, especially in a group reading, be gracious to your hosts (even if you didn’t get the crowd you expected, even if something else went amiss…), etc. Speaking of group readings, I always enjoy seeing authors speak to their editor or just another writer friend who can interview them about their work at a reading, and it takes some of the pressure off of the author as the star attraction.

     

    Amanda Bullock speaking at Wordstock 2015
    Amanda Bullock at Wordstock 2015

    TBD: There are so many amazing writers and publishing professionals coming to this year’s Wordstock. We don’t mean to put you on the spot, but what are some of the things you are particularly excited about seeing?

    AB: This year we are presenting at six new stages, including the 2,776-seat Arlene Schnitzer Concert Hall, which is hugely exciting. On that stage we have Sherman Alexie with his wonderful new picture book, Thunder Boy, Jr.,and we have a conversation between Colson Whitehead (The Underground Railroad) and Yaa Gyasi (Homegoing), which I think will be one of the great moments of this year’s festival. Overall, seeing writers in conversation with each other and exploring the intersections between their work is one of my favorite things about festivals and, again, a great opportunity that the density of a festival makes possible. We have a slew of great debut novelists this year, including Yaa Gyasi (Homegoing), Jade Chang (The Wangs vs. The World), Stephanie Danler (Sweetbitter), Lily Brooks-Dalton (Good Morning, Midnight), and many more. Seeing authors at the beginning of their career on stage with living legends and award winners, such as Richard Russo, Alice Hoffman, Nicholson Baker, is so exciting.

    TBD: You seem to have a wonderful diversity in your presentation, with books for kids, nonfiction and fiction, and people of color seem to be well represented. Is that part of your mission?

    AB: Thank you for mentioning this! We strive for diversity and inclusion in all aspects: genre, age, race, gender, geography, and so much more. It is definitely a hugely important part of our mission, both at Literary Arts and at Wordstock, and as a curator I am always working toward greater representation, diversity, and inclusiveness. I truly want there to be something for every reader at our festival.P.S. I’m also proud that we have great representation from independent publishers in our lineup!

    TBD: David has performed at several Lit Crawls with the fantastic festival Litquake in San Francisco. We see you have one too. Describe the sheer exuberant fun of Lit Crawl for people who’ve never been to one.

    AB: I was first introduced to Lit Crawl in New York, and it’s one of my favorite literary events. I’ve never believed that book events are boring — the cliché of a tweedy author in elbow patches droning on in front of a leather-bound library has never, ever been my experience at any kind of book event — but I love that Lit Crawl explodes that idea, that book events can be fun, and makes it super accessible by bringing literature “to the streets,” as they say. I think for readers, particularly those who don’t see themselves as a book-event type of person, it’s a wonderful introduction to the literary community. Book nerds are the most fun.

     

    Book Fair at Wordstock 2015, readers browsing tables of books
    Book Fair at Wordstock 2015

     

    TBD: Portland has such a great tradition of artists and writers. What have you done to tap into that fantastic pool of talent in the Pacific Northwest?

    AB: Half of our festival’s featured authors are Oregon writers! It’s not difficult at all to reach that goal, since, as you mentioned, we have such talented writers here. Literary Arts also presents the Oregon Book Awards and Fellowships, so we have a great pool of writers already part of the Literary Arts family. This year features past OBA&F winners or finalists Margaret Malone, Alexis Smith, Gina Ochsner, and many more!

    TBD: People who’ve never put on an event like Wordstock have no idea how difficult it is. What are some of the joys and difficulties for you? And what are you going to do in terms of celebrating and collapsing once this thing is over?

    AB: This sounds like I’m dodging the question but I swear it’s true: I love reading the books by the festival authors. Since I aim to program as diversely as possible, I’m often, of course, programming authors in genres I don’t read that often, and it’s great to find work I might not have come across if I wasn’t directing a festival in Portland.

    I’ve mentioned a few times that the density of the festival is its strength — the sheer number of people — but of course, it’s so difficult to efficiently plan multiple venues and simultaneous events. We’ll always be learning how to do it a little better.

    Last year I got a post-festival massage at Löyly, a lovely Finnish spa in Portland, and I’ll hopefully repeat that recovery plan this year… also whiskey.

    TBD: We kind of hate to ask you this, but what advice do you have for writers?

    AB: From an events perspective: Be a good literary citizen! It’s much easier for a bookstore to say yes to an unknown or up-and-coming author if you have been a part of their culture before pitching your event. Go to events, shop there, put the time in before your book is even written so that they’ll know you. In fact, work at a bookstore if that makes sense for you. And support other writers in your area by attending their events. Engage with the community!

    Amanda Bullock is the Director of Public Programs at Literary Arts, a nonprofit literary center in Portland, Oregon. She is the festival director for Wordstock: Portland’s Book Festival and produces Portland Arts & Lectures. Prior to joining Literary Arts, she served as the Director of Public Programming at Housing Works Bookstore Cafe in downtown New York City. She is the co-founder and –organizer of Lit Crawl Portland, of the Downtown Literary Festival in NYC, and co-founder and –organizer of Moby-Dick Marathon NYC.

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