It’s the tough truth every aspiring author needs to be prepared for. Even with glowing reviews, big launch day buzz, and a perfectly curated social media campaign, nothing guarantees your book will break through.

What actually moves the needle is simple: readers telling others they have to read your book.

So work on crafting a book readers can’t resist.

The best thing you can do for your publishing career is write the strongest book possible — and that starts with knowing what’s out there.

Read what’s currently being published in your genre. It’s how you understand the landscape you’re entering, find the white space for your story, and make sure you’re writing a book that readers are actually hungry for.

In today’s interview, agent Gideon Pine discusses the power of word-of-mouth, the issue with “copycat” writing, and the surprising new way readers are consuming fiction.

OUR SPECIAL GUEST TODAY IS…

Gideon Pine

Agent at Inkwell Management

Gideon is currently looking for:

• Big Idea nonfiction

• Journalist exposé (OpenAI whistleblowers welcome)

• Narrative Nonfiction

• Health & Wellness / Self-Help

• Chef/Influencer-driven Cookbooks

• Literary or Upmarket fiction with loud imagination in the quiet moments. Think: a John Irving novel, or for those who do not have the literary tastes of a 70-year-old man, which I admittedly do, a Kaveh Akbar or Miranda July novel.

• Always looking for serious crime novels with style (ex. FIVE DECEMBERS, A GIFT BEFORE DYING, THE HEAVENLY TABLE, SHIBUMI) and writers like Ira Levin, Laura Lippman, and Stephen Graham Jones who are masterful acrobats with their prose. Then there are those who embrace the weird and even grotesque - Alvaro Enrigue, Katherine Dunn, Ava Reid, Olga Ravn - who all write with a lot of heart and intention beneath the surreal and terrifying.

• A sportswriter for specific project

• A psychologist with a significant social media platform for specific project

• A literary fiction author with an interest in Japanese culture for specific project

What’s one challenge most debut authors don’t see coming, and how do you help them navigate it?

Most debut authors underestimate how important word of mouth is for their success. The only thing remotely close to having a sure path to success is if a novel becomes a Reese or Jenna pick.

Otherwise, a debut author can have a buzzy debut that gets write-ups in all the right places, only to learn that book reviews are not the needle-movers they used to be. Ultimately, it’s word of mouth that pushes titles like THE IDEA OF YOU and THE CORRESPONDENT to the top of the charts.

The takeaway here should be that there is so, so much that authors can’t control, so the best thing to focus on is trying to write the best book you can and see how the universe responds!

What is one piece of advice you would give to a writer who aspires to be published?

For novelists, read high-quality contemporary fiction (and please don’t tell me everything being published today sucks). If your manuscript is “nothing like anything that’s out there,” then that’s probably not a good thing.

There are always exceptions — Samantha Harvey’s ORBITAL is unique, but her prose is also world-class, which counts for something — but most of the time, the person who says that there are no comps for their book has likely written a book for no one.

Ready for feedback that takes your story to the next level?

“I have greatly benefitted from my collaboration with Alyssa; I would not be where I am today without her! Her developmental ideas and vision for my novel taught me so much and helped to elevate my work in highly effective ways. Her editorial fingerprint is evident in the final result—a novel on bookshelves nationwide.”

—Jill Beissel, author of Glitter and Gold

Work with me

What’s the most common issue you see in manuscripts that keeps you from saying yes?

Too much copycat and ripped from the headlines fiction. Obvious Colleen Hoover, James Patterson, and Frieda McFadden influence. It’s difficult to replicate their success.

Then there’s the AI thriller. The climate change thriller. The veiled Trump admin thriller. I understand the instinct, but writers need to remember that whatever they are writing won’t be for sale until at least 12-18 months after acquisition.

That’s why I look for fiction that takes me away from the familiar and shows me an entirely different world. The stakes don’t always have to be maximal.

Ian McEwan’s THE INNOCENT is a perfect example of small stakes in what is otherwise heavyweight fiction. Not everything needs to lead to the end of the world; sometimes, it can just lead to the end of a relationship, which could feel like the end of the world if delivered with potency.

Psst: I wrote a book about querying! Check it out ☺️

What trends or shifts in publishing do you think emerging authors should have on their radar?

This is the definition of anecdotal data, but I am noticing a lot of online reviewers (Goodreads, Amazon, etc.) are starting to classify books as either the kind you have to give your full attention or the kind you only have to pay partial attention. I suppose that’s the creeping popularity of audiobooks at work. But it never occurred to me that people would consider not giving a book their full attention.

In a world where there’s 10,000 things competing for your attention at once, friends, family, and books are among those that deserve your undivided attention. What someone can do with this information… I have no idea. But maybe someone reading this will appreciate the message.

How can a writer tell when their manuscript is truly ready to query?

A manuscript is truly ready to query once the author believes it is the best possible manuscript it can be. When they feel they’ve given an agent no reason to say no. Of course, reality might dictate different terms, but the author at least needs to feel that they’ve done their absolute best.

ICYMI…this week on YouTube, I’m revealing the mistake I see in 50% of the novels I edit — and showing you real examples of how to fix it.

Watch the video

I honestly thought I was late to the game, that the Internet had already moved onto the next bookish drama.

Boy, was I wrong.

The video instantly shot up to my most-watched in months and is now at more than 115,000 views. It’s tracking to be my most-viewed video of all time.

If you haven’t watched it yet or have no idea what I’m referencing, check it out here.

There are still so many unknowns with the Shy Girl case that aren’t worth further speculating on, but what’s abundantly clear is that authors are rattled. They’re worried that they’ll be the next ones “burned at the stake” in the AI witch hunts.

So let’s talk about it: what can — and what should — you do if you’re accused of using AI to write?

No one is safe from AI accusations (myself included)

I’ve personally received two AI accusations: one person suggested that I used AI to write an Instagram caption, and another person claimed to run my two-sentence YouTube video description into an AI detection tool and said it came back as AI-generated. (In that very video, I discuss how AI detection tools are not completely reliable, but that’s beside the point.)

I didn’t use AI in either case. But does it even matter? Once someone is convinced you used AI, can you ever dig yourself out of that accusation? Can you prevent these accusations upfront?

Luckily, these comments were isolated and didn’t negatively impact my business. But the same can’t be said for Mia Ballard — whether Shy Girl contained AI writing or not, her name will now be associated with it.

And I suspect that anyone who publicly posts or publishes content is going to face an AI accusation at some point.

So…how do we respond?

Read more

Even after you sign with an agent and sell your book to a major publisher, you might face challenges in your publishing career.

Your publisher could restructure. Your agent could retire. The deal you thought was your big break could fall apart — putting you back at square one.

But giving up is never the best option.

The writers who build lasting careers are the ones who keep showing up, even when the industry lets them down. They revamp old projects, nurture new connections, learn about the industry, and trust that persistence will eventually give them new opportunities.

It’s not glamorous, and it’s definitely not fast, but it’s how you rebuild when publishing knocks you down.

In today’s interview, author Annelise Ryan takes us behind the scenes of a decades-long career, sharing the reality of losing a major deal, the Sunday afternoon phone call that changed everything, and the best cures for a creative block.

OUR SPECIAL GUEST TODAY IS…

Annelise Ryan

Author

Monster in the Moonlight, Book #4 in the Monster Hunter Mysteries, is out now!

What’s been the toughest moment in your publishing journey, and how did you get through it?

Getting published at all was a long and arduous journey, decades of rejections and learning. But I’d have to say the toughest moment overall was a one-two punch when HarperCollins decided to drop me as an author before my third book with them came out, and my agent became so frustrated with the way the industry was going that she decided to retire two years later.

This was in the late nineties, and it was a strange time in the publishing world because there were these new things called e-books out there, and lots of folks were panicking. Publishers were merging and reorganizing, some were closing shop, and agents were dropping like flies.

After thinking my writing career was finally taking off because I had an agent who had sold three of my books to HarperCollins, I suddenly found myself with no agent, no publisher, and no prospects. It was a devastating setback for me. I got through it by continuing to write, revamping a story I’d been working on for several years, and keeping at it. Eventually it paid off, but it took several years.

How did you get your literary agent? What was the querying process like for you?

My first literary agent came after I’d sent out 39 query letters. I’d had a handful of manuscript requests but wasn’t expecting any agent to call me at home on a Sunday. Yet she did. I honestly thought it was a friend playing a joke on me at first. Once I realized she was legit, it was all I could do to contain my excitement. She and I went on to do three books with HarperCollins, but then she decided to retire.

I spent a few years with another agent I queried for a new project but he didn’t seem to have the enthusiasm for my work I wanted to see, so after three years we parted ways.

A few years after that, a contact I’d made doing book reviews for B&N.com became an agent, and she called me out of the blue to ask if I had anything. I did, and she went on to sell my Mattie Winston Mystery series to Kensington. After a few years, she switched from agenting to becoming a published writer herself, but another agent in the company took me on, so I didn’t have to go agent hunting again. Thank goodness! It’s a humbling process.

What’s a myth about publishing or being an author that you wish more people understood?

There are almost no overnight successes. It takes time and hard work.

What’s one thing about the publishing process no one tells you, but should?

I think too many writers ignore the need to learn not just the craft of writing — it’s about more than simply putting words on the page — but also the business side of writing for publication. Whether you intend to self-publish, go the traditional route, or choose some hybrid mix in between, you need to approach it like a professional because it’s a business.

That means learning and understanding things like the markets, trends, goals of publishers, costs of publication, the needs of bookstore owners, what attracts readers, and even the nitty-gritty, day-to-day stuff like book distribution networks and discounting.

If you want to write simply for your own pleasure, have at it. But if you want to write for publication, you need to put in the time to learn how to do it — all of it — properly.

Psst: I wrote a book! Check it out ☺️

What’s one thing you do (creatively, mentally, or physically) that helps you stay in it when writing gets hard?

Sometimes I have to step away from the work and do something uncreative, like take a walk in the woods, go for a bike ride, or tackle some heavy-duty housecleaning tasks I’ve been putting off. Sometimes I’ll read a book or binge-watch something way outside my writing genre. My subconscious mind is working all the time, and, while it took me some years and a few books to realize that and trust the process, I now know I can rely on it. Eventually, the answer will come.

What do you do to stay true to yourself in your writing?

I write what I enjoy reading. If it doesn’t entertain me, how can I expect it to entertain anyone else? I’m not striving to write great literature, I simply want to spin a good tale that will keep readers entertained and let them escape from the real world into the imaginary one I’ve created for a while.

What’s the best piece of feedback you ever received? How did it change your story?

The best and most frustrating advice I ever received was to “find my voice.” I had several writing instructors say this to me and tell me I hadn’t found it yet after they read my work, and I had no idea what it meant. I still don’t.

But I kept trying to find it and changing my writing approach and style until, one day, someone told me I’d finally found my voice. It’s more of an ethereal concept than an identifiable thing, yet I can now recognize it in my head and tell when my writing lacks it. I wish I could bottle it up and sell it! Or at least store it on a shelf so I don’t have to ever worry about losing it.

Ready for feedback that takes your story to the next level?

“I have greatly benefitted from my collaboration with Alyssa; I would not be where I am today without her! Her developmental ideas and vision for my novel taught me so much and helped to elevate my work in highly effective ways. Her editorial fingerprint is evident in the final result—a novel on bookshelves nationwide.”

—Jill Beissel, author of Glitter and Gold

Work with me

What part of the writing process brings you the most joy?

Those days when I sit down to write and feel like I’ve been at it for maybe an hour and then realize five hours have gone by and I don’t want to take a break because I’m so excited about where the story is going. Getting into that groove is such a high. Then there’s the moment when you realize you’re finished with a project and ready to send it out into the world. That’s both scary and exciting.

When life gets busy, how do you protect your time to write?

It can get to be a challenge at times, but I’ve learned that I don’t need to be in front of my laptop or sitting with pen and paper to be writing. I’ve worked through plot points while driving in my car and dictated notes to myself on my phone while watching my nieces in a game and scribbled down an idea on a napkin in a restaurant and stuffed it in my pocket.

When deadlines start pressuring me, I sometimes have to beg off of social events and family gatherings in the name of getting the work done, but I’m something of an introvert anyway, so people have come to expect that of me. I’m fiercely protective of my writing time when I need to be.

ICYMI…last week on YouTube, I discussed why the Shy Girl scandal is a wake-up call for the entire publishing industry.

Watch the video

Sending out their manuscript way before it’s actually ready.

I get it: you finally reached “the end,” and you should feel incredibly proud and excited for the next steps! Few authors reach this milestone.

But the hard truth is that your manuscript probably isn’t the strongest it can be yet. That doesn’t mean you’re a bad writer or that your story sucks. Revision is just a critical part of the process.

Your manuscript deserves your patience.

The highest form of respect you can show your story is putting in the work it deserves. No author’s first draft is perfect, but your story will become something incredible in time.

In an industry where agents might only say “yes” five times out of thousands of queries sent to them, you need a story that’s ready to enter the highly competitive market.

In today’s interview, Vice President & Executive Agent Brent Taylor shares the most common reason he has to pass on a project, the secret to making sample pages hum with tension, and why your social media presence matters more than it did a decade ago.

OUR SPECIAL GUEST TODAY IS…

Brent Taylor

Vice President & Executive Agent at Triada US

Brent is open to queries via QueryTracker and is actively looking for new clients in a variety of genres and categories. See his MSWL here.

What’s the most common issue you see in manuscripts that keeps you from saying yes?

I believe that many writers get so excited about the prospect of seeking traditional publication that they begin querying their projects too early.

I recommend that authors really take their time to make their manuscript the best that it can be. Workshop it with friends, critique partners, etc. Only begin querying it when you truly don’t see how you could possibly make the manuscript any stronger.

How can querying authors ensure their sample pages are engaging and intriguing?

Start the story where something is already in motion. Agents don’t need explosions on page one, but we do need tension. That could be a question raised, or a problem introduced.

You also need to introduce your voice as an author and the voice of your characters. I should be seeing on the page why you are specifically the writer to tell this story.

Ready for feedback that takes your story to the next level?

“I have greatly benefitted from my collaboration with Alyssa; I would not be where I am today without her! Her developmental ideas and vision for my novel taught me so much and helped to elevate my work in highly effective ways. Her editorial fingerprint is evident in the final result—a novel on bookshelves nationwide.”

—Jill Beissel, author of Glitter and Gold

Work with me

What traits or qualities do you look for in a potential client?

I’m looking for a client to be a creative collaborator and a business partner. We should feel like strategic partners at every stage of the process, respecting one another’s ideas while also feeling comfortable bringing up our own thoughts and opinions.

Approximately how many queries do you receive per year, and how many of those result in an offer of representation?

Between 5,000 and 10,000, and I offer representation around 5 times per year.

Psst: I wrote a book! Check it out ☺️

What trends or shifts in publishing do you think emerging authors should have on their radar?

10 years ago, the industry felt that social media wasn’t that effective at selling books. Now, social media has the power to sell hundreds of thousands of books! I think a strong, energetic, and passionate social media presence is essential in this market.

ICYMI…this week on YouTube, I share the real difference between bad and great writing — and a practical exercise you can apply to your WIP.

Watch the video

I saw debut authors sign massive book deals. I saw agents launch new talent onto bestseller lists. And, sadly, I saw hundreds of queries get rejected.

But the most exciting days were the ones where we received that rare query that made the agent sit up in their chair. One that they pounced on immediately.

“Request the full right now,” they’d tell me. And then we’d read it immediately.

Sometimes these queries would end up getting multiple agent offers, and the author would have to choose between them in what the industry calls a “beauty contest.”

Looking back, I realized that those select queries that got so much buzz and excitement had one thing in common:

The stories were all what the publishing industry calls “high-concept.”

You’ve probably heard this term thrown around. Maybe you’ve seen it on a literary agent’s manuscript wish list and wondered: Does my book need to be high-concept to get published? And what the heck does that mean, anyway — that I have to throw in a bunch of explosions or set it in a speculative world?

(The answers are no, by the way.)

Today, I want to talk about the power of high-concept storytelling and why every author should harness it, even if your story is “quiet.”

Because it can make agents and readers pay attention (and buy in) even before they’ve read a single word of your writing.

OK…but what is a high-concept book?

Read more

Editing isn’t a single item you check off your to-do list and move on from. Drafts are rewritten, restructured, and revised — often more than once. You think you’re finished, and then the story needs more from you.

Revisions can be draining. Discouraging at times. But as an editor, I truly believe they’re where the magic happens.

Revision means your story has potential.

Having somewhere to take your draft means the foundation is strong enough to be worth refining. You know the book can be better, sharper, and more emotionally resonant.

And guess what? It’s worth the investment. I promise.

But don’t take it from me!

In today’s interview, author Ahmad Saber reminds us that revision isn’t failure and why it’s important to stay present through the process.

OUR SPECIAL GUEST TODAY IS…

Ahmad Saber

Author

Debut novel available now: Ramin Abbas Has MAJOR Questions

What’s been the toughest moment in your publishing journey, and how did you get through it?

I cannot explain how much editing I’ve had to do myself first, then hit-and-trial with multiple agent rejections, two R&Rs, then signing with an agent and doing 3 major rounds of revision with him before that offer came from an editor!

You’d think that was the end of it, right? Wrong.

I had to then edit at least 3 more major rounds over 2 years AFTER the offer signing before it was accepted for publication! So yes, it’s tough, but we’re all on the same team with a common objective: write the best book we can for our readers to have an unforgettable reading experience!

What’s one thing about the publishing process no one tells you, but should?

That your self-worth and mental health are NOT tied to getting an agent, getting a big publisher, the advance amount, the marketing priority, the pre-order numbers, or the sales figures and awards.

Unfortunately, these are mostly self-inflicted sources of anxiety. Your story is important and will find its audience no matter how big or small, but that is in no way a reflection of your worth as a person.

What’s the best piece of feedback you ever received? How did it change your story?

The best piece of feedback I’ve ever received was from the agent who eventually signed me on as a client: “The building blocks are there, now let’s do Jenga on it and re-arrange it all!” It led to the most marvelous and unexpected plot changes while keeping the DNA of my story the same.

What part of the writing process brings you the most joy?

For me, this has to be getting to know the characters and capturing emotions on the page! It’s like an exploration of what makes us human and what matters in life. The joy comes when I get feedback that a reader laughed, or cried, or threw up a fist in frustration while reading the book. This means the immersion was real!

Ready for feedback that takes your story to the next level?

“I have greatly benefitted from my collaboration with Alyssa; I would not be where I am today without her! Her developmental ideas and vision for my novel taught me so much and helped to elevate my work in highly effective ways. Her editorial fingerprint is evident in the final result—a novel on bookshelves nationwide.”

—Jill Beissel, author of Glitter and Gold

Work with me

What is the most memorable writing tip or technique that you have heard, and how did it influence your process?

In my experience, inspiration comes in waves that can’t be predicted or controlled, so I recommend writing down any lines of dialogue, quirky character traits, catchy names, or plot pieces that come to you in a large document while writing your book.

You’d be surprised how much your subconscious mind wants to help you out by sending you “revelations.”

ICYMI…last week on YouTube, I analyzed People We Meet on Vacation and The Housemaid to identify the plot trick that bestselling authors use to make their books unputdownable.

Watch the video

Publishing one, or even multiple, books doesn’t automatically mean the rest of your career is made. Your next book might get a lowball offer or outright rejected. You might switch agents or editors.

So, how do you get through it?

Lean on your author friends.

They’re the ones who have been with you for the ride and will have your best interests at heart. Writing can be a lonely business, but sharing your struggles and your successes with them will help you through it.

In today’s interview, bestselling author Layne Fargo tells us what happened after she rejected her publisher’s offer, how a personalized rejection stuck with her, and how she beats writer’s block.

OUR SPECIAL GUEST TODAY IS…

Layne Fargo

Bestselling Author

Latest novel THE FAVORITES available now in paperback with exclusive bonus content

What’s one thing about the publishing process no one tells you, but should?

How much of it is just refreshing your email inbox, hoping for That One Email that will change your life… it’s pathological at this point! Truly, though, there’s so much waiting and tedium involved in all stages of the process. Everyone hates querying, but it’s honestly pretty good practice for what’s in store once you get published.

What’s been the toughest moment in your publishing journey, and how did you get through it?

After my second novel, I decided to write my next book without a contract rather than accepting the lowball offer my publisher at the time had offered me. Then I proceeded to write not one, but *two* terrible books, before finally figuring out the premise that would become my novel THE FAVORITES.

I got through it with the help of my author friends, especially my critique partners who were there every step of the way through all those different projects, and also with drugs (mostly psychiatric, but sometimes recreational).

What’s the best piece of feedback you ever received? How did it change your story?

In a very kind personalized rejection for my first novel, an agent said there was something “inauthentic” about the characters and world. Her comment hit me like an arrow to the heart because she was absolutely right!

That book was ultimately not salvageable, but for every manuscript since then, I’ve prioritized authenticity above all — if it doesn’t feel 100% true to the characters and to my own voice, it’s not the right way to go.

What part of the writing process brings you the most joy?

That moment when you get a lightning-strike idea that makes the whole story come together (which always seems to happen in the shower for some reason…). Overall, my favorite part of the writing process is revision, and when it’s going well it often feels like this too. Something’s not working and then BAM, suddenly you figure it out! It’s like magic, and it never fails to make me feel giddy with power.

Psst: I wrote a book! Check it out ☺️

What’s one thing you do (creatively, mentally, or physically) that helps you stay in it when writing gets hard?

Floor time! If I’m stuck, I will lie down on the floor of my office (sometimes on an acupressure mat, sometimes just on the rug), stare at the ceiling, and let my mind wander. Usually by the time I get up again, I’ve figured out whatever was blocking me, but even if not, it’s a nice little rest for both my brain and body.

When life gets busy, how do you protect your time to write?

I’ll be honest, I am not great at this. Luckily I have a very supportive partner who helps me out when I need a kick in the ass to get back to the keyboard. He’ll put on a movie or TV show he knows I hate (anything with Sylvester Stallone usually does the trick) and then once I’ve fled to my office to get away from the man noise, I manage to get some work done too.

ICYMI…this week on YouTube, I reviewed three subscribers’ manuscripts and shared how I’d edit them!

Watch the video

I’d finished it in a single sitting.

Granted, I’d read several novels in bursts like that — but they were mostly manuscripts I was required to read quickly for work. This one was purely for enjoyment. I didn’t even mean to read it so quickly. It just happened.

Today I want to show you how to write like that. How to make readers addicted to turning the pages. How to make your story unputdownable.

The science behind addictive storytelling

The novel was called Fierce Kingdom by Gin Phillips.

If you haven’t read it, here’s the premise: a mother and her four-year-old son are trapped inside a zoo after closing time when shooters open fire. The entire story unfolds over roughly three hours. It’s raw, visceral, and uncomfortably intimate.

I physically couldn’t stop reading it.

The writing was strong, yes — but that wasn’t the crux of what made the novel so compulsively readable. Plenty of beautifully written books don’t grip you like that.

So what was Gin Phillips doing that made it impossible to look away, page after page?

It turns out I wouldn’t be able to articulate the answer until years later, when I discovered a powerful psychological principle that master storytellers know how to harness.

And once you understand it, you’ll never approach your story the same way again.

Read more

Rejection after rejection can be difficult to face, especially if you’ve been in the query trenches for years and have queried multiple manuscripts. It can feel like your dream of being published isn’t on the horizon.

But that’s not true.

Success is ahead of you — you just can’t see it yet.

Often when you feel like giving up, it is the exact moment that things change. In publishing (and in life), things can turn on a dime.

In today’s interview, USA Today bestselling novelist Joe Siple shares his unique journey to 400,000 sales, how his biggest success stemmed from a low in his career, and how he gets inside a character’s head.

OUR SPECIAL GUEST TODAY IS…

Joe Siple

USA Today bestselling novelist

My latest novel, The Anonymous Storyteller, will hit bookstores in late 2026.

How did you get your literary agent? What was the querying process like for you?

From 2001 to 2013, I wrote a book-length manuscript every year and queried 50-75 agents each time — and received nothing but form rejections. In 2013, I took a risk and went to the New York Pitch Conference, which led to landing my first agent. But after four years, four manuscripts, and no published books, I decided to go in a different direction.

In 2018, I had my debut novel, The Five Wishes of Mr. Murray McBride, published by a Print on Demand publisher called Black Rose Writing. Once that book sold about 200,000 copies, I was able to sell the print rights to Union Square & Co (a part of Hachette Book Group) and get my books in bookstores for the first time. That success made it much easier to get another agent, but at that time I wasn’t sure I wanted one.

Then things got a bit complicated — in a good way. We sold the film rights, the book was translated into thirteen languages, I now had two publishers for the same books...so I decided I needed someone to help with my future projects. The tricky thing at that point was figuring out how to find the agent that’s right for me. The answer actually came to me, which was a novel experience after many hundreds of form rejections the first time around.

An agent had emailed me through my author website shortly after The Five Wishes of Mr. Murray McBride was first published, telling me she enjoyed the story and wondering if I was looking for an agent. I wasn’t at the time, but when she emailed again two years later, I realized the perfect agent for me is the person who has reached out to me multiple times to express her love of my stories. Who could be better? So now I have an agent again! And I’m very excited to start shopping my latest manuscript in February.

What’s been the toughest moment in your publishing journey, and how did you get through it?

Strange as it sounds, my toughest moment was when I received the author copies of my debut novel, The Five Wishes of Mr. Murray McBride. Two things left me dispirited. First, since it was published by a Print on Demand publisher, the physical book had that “self-published” look to it.

I had held out for 17 years at that point, promising myself I wouldn’t self-publish (for my own reasons...I have nothing against it for those who choose that route). So even though I had a publisher who took care of the cover art, the formatting, and whatever else goes into it, the appearance of the book reminded me of my failure to get a traditional publishing deal.

The second dispiriting thing was the realization that the only people who were going to buy the book were my family and maybe some close friends. I’d be lucky if thirty people bought it! So I put the books back into the box, taped it up tightly, and stashed it in the far corner of the storage area in my basement. In that moment, I finally faced up to the reality that I’d never be an author.

Somehow, hundreds of thousands of people ended up buying the book and it has created a lot of opportunities for me. But at the time, it was actually the low point of my entire writing career.

Ready for feedback that takes your story to the next level?

“I have greatly benefitted from my collaboration with Alyssa; I would not be where I am today without her! Her developmental ideas and vision for my novel taught me so much and helped to elevate my work in highly effective ways. Her editorial fingerprint is evident in the final result—a novel on bookshelves nationwide.”

—Jill Beissel, author of Glitter and Gold

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What’s one thing about the publishing process no one tells you, but should?

A lot of things have been said many times — that it’s slow, full of rejection (even for successful authors) and never guaranteed. And those things are true. But the unique thing that my experience has taught me is that the world of “traditional” publishing and the world of “Print on Demand” publishing exist on entirely different planes. Each has very little understanding about how the other operates and there is little communication between them. If you have the opportunity to experience both worlds of publishing, it’s helpful to understand this reality going in.

What’s one thing you do (creatively, mentally, or physically) that helps you stay in it when writing gets hard?

Walking. I get my best ideas when I’m on my “idea generation walks”, so that has become a regular part of my writing routine. I usually write for a couple hours in the morning, then I go for a walk and record ideas on my phone. When I get home, I write them all down so I know what I’m going to write about during my next writing session. That way, I never have to stare at a blank page, wondering what to write.

What is the most memorable writing tip or technique that you have heard, and how did it influence your process?

I once complained to a writing teacher of mine that I couldn’t effectively get into the head of my character. I was struggling to understand him and his motivations. This teacher suggested I try writing in first person/present tense. It changed everything for me. Suddenly, I was actually in his head!

I know it doesn’t work for everyone, or for every story. But even if I write a story that doesn’t end up being in first person/present tense, my first draft always is. It just feels so much more intimate.

What part of the writing process brings you the most joy?

The goal of my stories is to give the reader a strong emotional experience. So that means I, as the author, get to have that same experience while writing. The part of the process that gives me the most joy is when I’m sitting at my computer, writing an emotional part of a story, and I start crying or laughing out loud. Not only do I enjoy feeling those powerful emotions within the safety of a novel, but if I feel those things when I’m writing, I can be pretty sure the reader will, too.

ICYMI…this week on YouTube, I analyzed 40 book deals to see what trends we can expect this year, and the results were surprising.

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A writer’s curse is that you will hear “no” far more than you’ll hear a “yes.” That doesn’t mean you can’t write. That doesn’t mean you’re doing anything wrong. That doesn’t mean your publishing dreams will fail.

It just means you’re in the game.

So write for yourself, always.

Who are you writing for, really? No, …

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Do you wait for feedback from your critique partners or revise as you go? Do you tackle the edits in chronological order or jump around?

Just as there’s no right way to write, there’s no right way to revise.

Slow down to work through the issues.

If you’re writing on deadline, you may be tempted to speed through your revisions ASAP. But s…

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When you let what you think readers want dictate your writing, it’s easy to lose your personality and voice — and your story will suffer.

Instead, stay true to yourself. The story you want to tell. The people you want to write about. And the right readers will find you.

Be authentically yourself, and …

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Now might be the absolute hardest time to be a querying author. Agents are taking longer to review their queries. More agents are adopting the “no reply means a rejection” policy. Publishers are closing up their purses, which affects how many clients agents take on.

But that doesn’t mean you won’t make it through. A quick scan through the debut section on Publishers Marketplace shows that publishers are still interested in fiction from first-time authors!

In 2025, there were 390 deals reported to Publishers Marketplace in the debut category (note that this database does not contain all deals, since they have to be reported, and it doesn’t include all the authors who signed with literary agents).

To celebrate the start of the new year, I’m wrapping up the best query advice I heard this year from traditionally published authors and literary agents featured in this newsletter.

Here are their 8 best tips for surviving — and getting out of — the querying trenches:

1. Just because an agent loves your book doesn’t mean they’re the right agent

I know it can be tempting to accept the first agent offer you get. But it’s very important that you take the time to ensure it’s the right offer. Make sure that you wait for the agent who will share your vision and bring it to fruition.

“Sometimes, agents absolutely love your manuscript and it sticks with them, but that doesn’t mean they’re the ‘right agent’ for the publishing process.

There could be a thousand factors involved, but it often boils down to whether they can reasonably position your book in the market. While this can make querying authors frustrated or bitter, you actually want an agent that will be that transparent with you. An agent who takes on a client without having a sales strategy or industry experience can be a major problem in the future.

If you’re looking to publish traditionally, it’s likely that you want the work to reach a larger audience. If that’s the case, you want to partner with someone who has a well defined strategy to make that happen.”

— Allison Gunn, author of Nowhere

2. Be flexible and receptive

Most agents are editorially inclined, meaning they’ll want to work with you to revise and strengthen your book before submitting it to publishers. So agents are looking for authors who are flexible, receptive to their feedback, and want to produce the most polished book possible.

“I would say one of the biggest green flags for me is flexibility. When signing new authors, I always tell them that my editorial suggestions are in the end, suggestions, and that the revision process is an ongoing conversation, not a mandate. And this is true!

But I always look for authors who are willing to kill their darlings, so to speak, and be flexible and receptive to edits both big and small. Being flexible and willing to look at your manuscript through a different lens often yields the best book and the best results.

Beyond that, the submission and publication process can be lengthy, arduous, and sometimes disappointing. The ability to manage the highs and lows of the publishing industry is crucial.”

— Lily Dolin, Associate Agent at Sterling Lord Literistic, Inc.

Want professional eyes on your query package?

“Because of Alyssa’s feedback on my query letter, I was able to obtain a reputable agent who then sold my book to a top 5 publisher! When I needed help choosing an editor, she was there to chime in and offer guidance! And even eleven months later when I asked for insight choosing an imprint, she helped then, too!”

—Bailey Evers, contemporary romance author

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3. Personalization can go a long way

Despite what you hear people say, you do not need a personal connection to get an agent. Cold queries lead to representation offers and book deals all the time!

One small thing you can do to stand out in agents’ inboxes is personalize your query letters. You should already do some research on the agent before deciding to query them, so mention something from their MSWL or client list that caught your attention.

“After sending my manuscript to about ten or more friends and really trying to polish it as much as possible, I cold emailed a list of agents in batches of five or ten using a spreadsheet I made in Google Sheets with each agent name, agency, a book I liked that they represented, and their query format.

Personalizing each query letter and making sure that I was querying the right agent at each agency for my manuscript helped me find my agent.”

— Lauren Ling Brown, author of Society of Lies

4. Capitalize on any momentum you get

Too many authors, after getting rejection after rejection, feel they have to work with the first agent who shows interest. But this can dramatically limit your options.

Here’s what you should do instead:

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The moment your book hits the shelves is often imagined as the ultimate peak — all the years of hard work and patience have led to this day. It’s an amazing high, but it sadly doesn’t last forever.

Remember that your worth is not tied to your book launch.

Think abou…

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The thing I love most about this newsletter is getting to hear real, practical advice from incredibly talented authors and publishing professionals who know exactly what aspiring authors are going through, and this year was full of gold nuggets I’m going to carry with me.

This year, I’ve featured New York Times and USA Today bestselling authors and agents who have sold books to the Big Five, so what better way to close off 2025 than a recap of all their best lessons?

Here are the top 7 pieces of writing and publishing advice I heard this year. Whether you’re deep in revisions, holding down the querying trenches, or drafting up a storm, there’s something here for you to carry into 2026 and beyond.

1. No one else can tell your story

No matter how much we try to fight it, doubt always comes creeping in. “So-and-so is a way better writer than me,” or “so-and-so has a way more interesting life than me.”

Doesn’t matter. You still have something unique to say.

“[T Kira Madden] said I should write my story. I remember saying, ‘yeah, but plenty of people have had it worse than me.’ And she said, ‘but no one will tell it the way you can.’

“This was not obvious to me at that time in my life. I was twenty-six and still working through a ton of ‘stuff,’ and hearing this crystalized something for me and gave me permission to write the things I really needed to and share them. It’s not a measurement of suffering or whose story is most difficult or whose survival is most heroic. It’s simply that the way we tell a story is unique to us, and worthy of telling. She’s right. No one can tell the story the way I can, just as no one can tell the story the way she can, and every other writer.”

— Chelsea Bieker, national bestselling author of Madwoman

Ready to take your story to the next level?

“I received truly professional and helpful feedback that helped me see where I could strengthen my story so it hits every note I want it to hit.

“Alyssa and her team provide a white glove touch rarely found in consultative services of any category. If you are serious about your story, you should seriously consider her services.”

— Edwin John Leskin, fantasy author

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2. Rejection isn’t personal, it’s business

Here’s one for all the querying authors feeling down about a growing rejection pile:

“Cultivate your patience, and learn to reframe rejection into something normal rather than personal. Everyone has constraints put on them. Editors might love your book but it’s not their imprint’s brand. It’s not personal. Sales people might love your book but the profit and loss statement doesn’t work out to benefit the publisher. It’s business.”

— Heather Cashman, Senior Literary Agent at Storm Literary Agency

3. If your first book fails, try, try again…

So many authors publish their “breakout” book after several pivots. So what do you do if your first book isn’t as successful as you’d hoped?

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It’s easy to get distracted, procrastinate, and fill your day with more menial tasks like emails and errands. These all quickly become rivals to your book and the time that could be spent writing.

Put your book first.

If your goal is to be a published author, your manuscript must stop being…

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Your identity as a writer isn’t determined by a book contract or a publishing house, but by your passion and effort.

The moment you put pen to paper or fingers to keys with the intent of telling a story, you become a writer.

Every idea you’ve shaped, every draft you’ve completed, and every revisio…

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But they’re not. Rejections don’t mean you don’t have talent; they just mean your book wasn’t right for those particular agents at those particular moments.

And the right one is worth waiting for.

So many published authors were in your exact shoes.

The truth is…

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There’s been a lot of discussion on X and Threads recently about the dos and don’ts of comps, so let’s dig into all your burning questions:

• Where can I find good comps?

• Can I use major bestsellers as comps?

• Can I use classics as comps?

• Can I use TV shows or movies as comps?

• How similar do my comps have to be to my book?

• Can my comps be a different genre than my book?

• Do I have to like a comp to include it?

• Will I automatically be rejected if I don’t include comps?

Where can I find good comps?

Start by looking at your bookshelf, or simply strolling through a bookstore! Comps should be books that would sit on the same shelf as yours and appeal to the same readers. Which book would your reader pick up right after yours?

My favorite online method for finding strong comps recently has been to look through the the Goodreads Choice Awards Lists for your genre for the past 5 years (since that’s the general recency benchmark you want to stick within).

Don’t just look at the winners — explore all the finalists as well. Do any of them speak to your target audience as well?

Bonus tip: Goodreads has a separate category for “Debut Novel,” so don’t skip that one!

I’ve heard of some authors using a prompt in ChatGPT, Claude, or Gemini to brainstorm comps. If you want to give it a go, you might try something like:

Give me a list of 10 [historical] novels published in the past five years by major publishing houses that center on [a mother-daughter relationship in a wartime setting]. Prioritize novels that had significant sales.

Adjust the bracketed sections to describe genre and the core elements of your book.

Keep in mind that the data may not be up-to-date (making it harder to find more recent comps) and that these tools can provide false information, so you always want to do thorough research on your own outside the chat.

Can I use major bestsellers as comps?

This is the hot question that’s been circulating around online writing communities over the past week. An agent advised authors not to comp to “mega sellers,” but why is that considered bad?

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The one who understands what you’re trying to achieve with your story. The one who shares your passion for it. The one who “gets” you.

And while that might sound like a lot of pressure, waiting for the right agent (just like the right romantic partner!) is worth it.

Your perfect match is out there

If …

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