A book-lover since before she could read, Seabrooke wrote her first (marvellously wish-fulfilling) stories with her sister as a pre-teen. After a detour through a B.Sc. in Zoology, she found her way back to books in the publication of a field guide to moths (Houghton Mifflin Harcourt, 2012). Nearly twenty years after her first forays into writing fiction, she rediscovered the joys of storytelling (now with fewer Mary Sues) and hasn’t looked back. She currently balances her nonfiction publishing contracts with her (much more fun) action-packed spec-fic YA writing, slotting both in around her day-job as a full-time mom. She lives in eastern Ontario, Canada, with her husband, toddler, and menagerie. Someday, she’ll have time to to sleep again.
Everyone knows it can be hard for new writers to find an agent. I think it’s for this reason that many authors get so caught up in the desire to achieve that “I have an agent” goal that they forget to really think about what they themselves need from an agent. Ultimately, your agent is there to act on your behalf, so it’s really important that they understand your needs and will work in a way that suits you.
The world’s messy. Life’s messy. Maybe your life’s messy. And maybe mine is too. We realise this in our teens. We feel it acutely. Perhaps this is why a lot of YA deals with the chaos, and yes, darkness of the world, not only in terms of subject matter, but in how we all deal with it.
Let’s say I’m writing a YA thriller, full of twists and reveals. In my next scene, the protagonist will discover a terrible secret about her past. What’s the most exciting way for this to happen?
- Dialogue with another character.
- Discovery of a physical object.
- Exploration of a creepy place.
- Mental processing leading to the revelation of a repressed memory.
If you’re like me as a reader, then you probably answered 2 or 3 — or, better yet, a combination of 2 and 3! A scene that involves action and interaction with a physical environment is inherently more exciting than a scene that’s all dialogue (1) or internal reflection (4).
A picture book text is like writing a poem — every word must multitask, every phrase must sing aloud not just on the page — but unlike a poem, a picture book text must have a dramatic forward momentum. It can’t just capture a moment, or a feeling; not even several moments or several feelings. Just like a novel, everything you say must ultimately serve the story.
As writers, many of us can be camera shy, but there will come a time when that publisher, that blogger, that publicist will ask for a photo of you. A couple of things might happen then — you’ll be left scrambling to find a good one that’s a few years old, or trying to take one yourself or getting a friend to do it.
Don’t scramble. Think ahead! When the time comes and your book sells, you’re going to need that photo. Even if you are self-publishing, a headshot will be helpful from a marketing standpoint.
Hello, WriteOnCon participants! My name is Clara Kensie, and I write dark fiction for young adults, including the super-romantic YA psychic thriller Run to You series, Deception So Deadly and Deception So Dark, and the dark, ripped-from-the-headlines YA psychological thriller Aftermath.
Run to You Book One: Deception So Deadly won the prestigious 2015 RITA Award for Best First Book (and finaled for Best Young Adult Romance) from the Romance Writers of America. That’s a pretty big deal, and winning that award is one of the highlights of my writing career, and my entire life. So, I guess you could say that I know a thing or two about how to write a romance. That’s why the lovely folks at WriteOnCon asked me to show you how to create romantic chemistry in your young adult novel! Let’s get started.
There’s no magic formula for writing a fabulous book. But there are formulas that offer guidelines for constructing a satisfying plot. Scriptwriters have long used the three act structure handed down from theater, with additional “turning points” as guidelines indicating when to include high and low moments and surprises.
Doug Eboch, writer of the movie Sweet Home Alabama, scriptwriting teacher, and author of The Three Stages of Screenwriting (and my brother) says, “These ideas date back to Aristotle; they’re not some new Hollywood formula. Three Act Structure is really just a way to talk about literary concepts. So, for example, the first act is the section where we set up the character, their dilemma and the stakes; the second act is where the character faces increasing obstacles to that dilemma; and the third act is where we get the resolution.”
The complaint I hear most often from people who are just starting to query is that it’s hard to take rejection. Not to mention writing the actual query letter.
Let’s start with the part about rejection. Let’s just put it out there. Rejection sucks. It’s hard. It’s hard to put your words out in the world and have people reject them. It feels personal.
Can we all agree not to call it rejection? Let’s call it what it is: A Decline. An agent declines your work. They pass. That’s all. They aren’t rejecting you as a person.
Today, I am so pleased to be able to talk about one of the best aspects of publishing: the fact that it can be so close to being a bakery, particularly when we start talking about your options: querying, finding a publisher or even working with a book packager. Bear with me on the bakery thing. I promise this is not me just being hungry. I’m talking about paths and processes. There is no cookie cutter needed or a specific prerequisite in order to have a lovely slice of warm, icing-oozing deliciousness on your plate and dig in with pride knowing that you baked it. Sometimes, you went the whole way from scratch: raw idea, hours of frustration in front of your torture device of choice (laptop, pen and paper, hopefully not a stone tablet because then you’re really making the rest of us look bad with your dedication to premature gray hairs) and, hopefully, an agent and a publisher and a book on the shelf as the light at the end of the tunnel – or, sticking to the metaphor, the delicious cake rising in the oven while you prop up your feet and take a well-deserved Netflix break.
Main characters have objectives and obstacles, and we spend most of our reading time urging them on, but there’s just something so deeply satisfying about an overlooked or secondary character who becomes so realized, so much themselves, that they gain agency — even just temporarily — over the story itself.
I’m going to share some tips and techniques for writing in verse — things I’ve learned along the way that I hope might be helpful for others.
Verse novels, of course, have to be both verse-y and novel-y. (I know… go figure.) Here’s what this really means: Verse novels combine the music and imagery of poetry with the plot and character development of a novel.
Music + imagery + plot + characters = a lot to think about!
Let’s be honest: worldbuilding is intimidating. You’re basically creating something from scratch, and when you compare that to how wildly big and diverse our real world is, that can become a daunting task. That doesn’t mean you can’t create your own big and diverse world, however; you just need to know what elements to keep in mind when building your world from the ground up.
So, where on earth do you start?
Last week, I started reading a book that had complex, likable characters. But I didn’t finish the book. After seventy pages, the characters still hadn’t done anything that was actually interesting. Not much was at stake for them. I put the book down with a sigh and wished the author had taken the time to learn some plotting principles. Don’t let this happen to your book.
You’ve probably heard this before: if you’ve truly mastered your craft, you can write about almost anything and make it work. Yet even the most accomplished novelists have trouble convincing their agent to champion a story that revolves around familiar tropes. Whether you’re writing in contemporary romance, epic fantasy, YA historical, or another genre, how can you be sure your book is fresh enough to get attention?
When your first book debuted, maybe you did a little marketing or maybe a lot. Perhaps your publisher pushed your book all the way to the bestseller lists, or perhaps yours was a little further down the priority ladder. But after that first book has been out for a while, the glow begins to fade and it may not be carried by as many bookstores anymore. You might be knee deep in edits on the next book, or frantically drafting proposals in the hopes of selling a follow-up.
How do you keep marketing to stay relevant even if your most recent book isn’t all that recent anymore? There is no pat, easy answer, but there are some strategies that I’ve found useful long after a book first hits the shelves.
Once upon a time, dear children, I wrote a book that didn’t sell. It would never sell. It never could sell. This was not its destiny. Because I was unaware of this destiny, I did what any hopeful, would-be writer would do. I queried the spit out of that thing. I wrote a query letter, so muscly and sinuous and ruddy with life that it practically had its own birth certificate and school report card, and then sent it to, I’m pretty sure, every agent in existence. A very good many wanted to see the book. Literally everyone said no.
As a writer of Young Adult Regency Romance, I would like to share some of my observations about writing relevant books for the tech-savvy teens of today when the story takes place long before electronics entered our world.
It is entirely true that themes are timeless, that love, acting out, worrying about the opinion of peers, fretting about the future etc. provides a commonality between different eras. These tropes provide a means to reach modern readers; they facilitate an understanding of days gone by.
However, there are pitfalls when you add a historical background to your novel.
Most likely, for every writer, parts of their real life worm their way into their characters, settings, and plotlines, regardless of the novel’s genre and age category. Drawing inspiration from life is powerful because we’ve experienced the feelings and can write from a real, raw perspective. We can provide details that someone else wouldn’t think about or be aware of, which breathe life into the story and draw the reader in. These details also add dimensionality to the characters, whether it’s a certain way of talking, a nervous habit, or a unique view on a topic.
These things can of course also be made up from scratch, but drawing from real life keeps characters consistent and prevents us from going too far or falling into cliché.
As writers, at some point we all have to choose the dreaded day job. For some, that might mean working at a coffee shop or waiting tables, but if you have to work to support your passion, why not chose a day job that benefits your writing career? Besides being literally surrounded by books, librarians experience a world of benefits that will leave even the most casual writer salivating at their computer.
building an anthology or other collaborative project. In fact, many believe that an editor who has put together one and chooses to pursue doing a second project of similar scope really enjoys pain to want to go through the process again by choice.
In all seriousness, when in the thick of putting together Here We Are: Feminism For The Real World, I had a lot of questions about how to make something like this work… and so did others who were curious about how they, too, could create an anthology that they’d been dreaming of putting together. Between the knowledge I acquired from my editors, editors of other anthologies (fiction and nonfiction), and my own experiences, here is how you, too, can create your own anthology.
As moderator of this roundtable, I wanted to peek into the thought processes of other writers about writing diversely, an aspect of the craft much of the industry is still struggling with. We each bring our own unique set of perspectives, biases, and prejudices to our writing, and discussion with other writers can help us get rid of what hurts readers while keeping what empowers. So here are some questions — and their answers! — about writing diversely that hopefully plenty of writers will find insightful.
– Elsie Chapman
I’ve spent most of my life writing nonfiction. But I always dreamed of being a fiction writer. Now, at the age of sixty, I am making my debut as a fiction writer. My first novel is a book for middle-grade readers and it is based on a true experience from my childhood. Why did it take so long?
Three years ago, if you had asked me what I imagined for my first book, I wouldn’t have told you that being an indie author was the plan. Yet here I am, just about two years after I made the decision to self-publish my debut novel, A Magic Dark & Bright, and I am so, so happy with the decision that I’ve made. Along the way, I’ve made new friends, launched an indie publishing collective with a group of amazing and like-minded authors ( ), and shattered the expectations I set for myself.
Here are some of the things I’ve learned along the way…
You wrote a book! Congrats! Now to paaaarrrrrrty!
I mean, work. Now to work. But it helps to treat this part of your job like a big party, and the great news is, bookstores are full of people who love books and love authors, and they want to make your event as successful and fun as possible.
As a child I often imagined I was on adventures in the wilderness without my parents in tow. My grandparents were avid David Attenborough fans and I used to watch wildlife documentaries with them before acting the scenes out: pretending I was climbing to the top of a rainforest; rescuing a pelican from a cliff, or swimming with pink dolphins in an alpine lake. I wanted to inhabit an outside world: interacting with nature and experiencing my environment.
The deeper we journey into the digital age, the shorter our attention spans become. This is why we have seen word count for picture books go way down from just a few years ago. But a small word count is not the only way to keep a reader’s attention. Kids love to be surprised, they love to be involved, and they love to play games. So why not give them all of that in a picture book?
Four and a half years ago, August 2012 to be precise, I wrote my first post for WriteOnCon entitled: World Building: Let Your Characters Be Your Guide. In preparation for this post, I went back and reread it. For the most part, I still stand behind the advice I gave in that article, and I still go through a similar process in my world building these days.
I think the most useful part in that article is my suggestion that we accomplish world building in three primary ways in our stories…
You’ve had an idea for a novel. You can’t stop thinking about it. When you talk about it, it gives you goosebumps. You’ve nurtured it with coffee, sweat, tears, and occasionally even blood (papercuts: a hazard of the job). You’ve put your butt in that chair, laboring over the keyboard in the early morning before work, or late at night by the glow of your laptop. You’ve counted the words, and watched your private little idea blossom, page after page, into a story with a beginning, middle and end, fully realized characters, and a premise that won’t quit. You love it like a living, breathing thing. (I mean, you’re about to spend a lot of time and energy on this book—you’d better love it, right?) Finally, you hit the last keystroke on your masterpiece. Your book is done!
Soooo…what do you do now?
I’ve had the honor of sitting on many agent panels, and at nearly every one, the moderator asks, “What will be the next big thing in children/teen books?” Sometimes my colleagues and I offer specific answers — space operas, epic romance, magical realism, bees! — but our answers are as much wishful thinking as they are a response to market analysis. Yes, we are always watching the deal announcements and noting themes in the queries we’re receiving and taking the temperature of the culture at large while following a trajectory put in motion by past trends. But publishing can be a fickle beast and even the “sure bets” have landed with a thud despite everyone’s best efforts.
The core of my prose writing philosophy is this: strive to convey their message as powerfully as possible, in as few words as possible. That’s not to say that you can’t embellish. But embellishments are useless if they serve no purpose beyond decoration, or if the structure underneath is unstable. It’s like building a sand castle. Unless you start with good quality, hard packed, wet sand (which requires a lot of work, mind you), you’ll end up with a highly decorated, crumbling pile of mush. And even if you do start with a good base, carving towers and throwing a ton of seashells and seaweed on it won’t necessarily make it beautiful. You have to embellish with intention.
Having dropped that caveat, I also believe that the best way to learn to use these tools is to play with them. A lot. Which may be too much in the end, but you can always cut things later.
Okay. So let’s move on to some of my favorite ways to use literary devices to highlight or intensify emotions, create a mood, or play up a voice. You probably use some of them already, but if you know why and how they work, you can use them with even greater skill. Ready? Here we go.
(aka You Probably Shouldn’t Focus on Your Character’s Eye Color)
WHY write dual POV? I chose to write LOVE SONGS in dual POV, because it fit the story. Both Cameron and Vee, had their own independent goals and problems, before and after their stories began to intertwine. And for a love story, dual POV can be an ideal setup, letting the reader get in the head of both love interests. Because to make the story I was telling effective, I needed readers to be able to see the motivations, fears, and secrets (well, most of the secrets) of both characters. And that’s really the biggest selling point of dual POV — as a reader (and a writer) you get intimate access to more than one character. You’re able to fill in some of the knowledge holes you’d have with a single POV.
In 1817, Samuel Taylor Coleridge coined the term suspension of disbelief, referring to a reader’s willingness to enjoy a fictional story as if the events were really happening. It applies equally to realistic and speculative fiction, and the burden of luring the reader into this state falls on the author.
Hi! I’m Jessica Spotswood, YA author and — more importantly for this discussion — the editor of two feminist historical fiction anthologies, A Tyranny of Petticoats: 15 Stories of Belles, Bank Robbers, & Other Badass Girls (Candlewick, 2016) and The Radical Element (Candlewick, 2018). I might also be secretly working on more. (Shhhh.)
When I was first organizing Tyranny back in 2014, I reached out to several other authors who’d edited anthologies: Saundra Mitchell (Defy the Dark and the forthcoming All Out), Stephanie Perkins (My True Love Gave to Me and Summer Days & Summer Nights), and April Tucholke (Slasher Girls & Monster Boys). Their advice was invaluable to me, and I am so grateful for it. So I’ve been eager to pay it forward and answer questions from others who are interested in putting together their own anthologies. These are some of the most frequently asked questions I’ve gotten:
Sex and swearing have an interesting place in the YA publishing discussions, because you often have people in one of these two camps:
- Oh, it’s books for teens—obviously I can’t have sex and swearing
- Teens aren’t children—I can write whatever the hell I want, within reason
And it’s not that one camp is fully wrong or one is fully right, it’s more like Camp 1 isn’t reading nearly enough, and Camp 2 doesn’t know nearly enough about the publishing business.
Create what you love. And do it every day.
At 31 this is what I would have told my 24-year-old self when I started in publishing.
It sounds relatively simple right? Wrong. Or at least, that’s how it was for me. Specifically the do it everyday part. I didn’t keep a sketch book. I didn’t write everyday. I didn’t think about new ideas all the time. I’d come up with a book idea. Write it. Make a dummy. And pitch it. If it sold, I’d make said book. Exert a serious amount of energy and then feel like I needed a three month vacation. And then repeat the whole thing all over again for the next book. Which isn’t exactly wrong. The problem was that I was treating my book career like a hobby. A career is not something you do occasionally. It’s something you invest your time in everyday. And I love my job. So why wasn’t I investing my time?
Years ago, when I first started writing, I was incredibly disorganized. I used Microsoft Word and even had individual documents for every chapter, plus an outline document, brainstorming document, etc. But that quickly became very cumbersome and occasionally resulted in misplacing bits and pieces of my manuscripts or forgetting which version was the latest and greatest. Then in 2010, I signed up to beta test the Windows version of Scrivener for that year’s NaNoWriMo — and I’ve never looked back. All the tools I need to plot, draft, and revise are right there at my fingertips.
There are many things I love about Scrivener, but I’ll share with you 5 of my favorite tricks…
I know I’m not the only parent struggling to incorporate writing into their role as a mother or father, so I reached out to a number of our WriteOnCon speakers who also have kids to ask for their experience and advice in how to make it work. Here, nine writers share their stories about finding balance as a parent. For those of you still endeavoring to make it work, I hope you can find some inspiration among their experiences.
In terms of storytelling, what makes KidLit different from other age groups? Why do you enjoy focusing on this demographic?
I like picture books because they allow me to tell the story with illustrations and limited amount of words. So the focus is more on visual storytelling as opposed to text. As an author, I write and illustrate, but I consider myself an illustrator first, writer second. I write because I have to, not because I want to.
Let me start with this — I LOVE using Scrivener. It not only helps me stay organized, it also saves me a ton of time and gives me all kinds of ways to keep track of things in my stories.
I get it–it looks complicated. You might be wondering if it’s really any better than Word. (For the record, Word is wonderful, but it doesn’t do nearly as much for writers.) Or maybe you’re overwhelmed not knowing where to start. But here’s the thing—if all you ever do is use Scrivener to write your story, you will still save yourself hours of time just by being more organized. No really, I mean it. Hear me out.
She’s that girl. You knew her in high school. At least, you think you did.
Maybe you believed what everyone said about her. Maybe you laughed at her, taunted her. Maybe you helped spread the rumors. Maybe you started them. Or maybe you defended her, held out your hand when nobody else would, shared secrets with her. Maybe she was your friend.
Maybe she was you.
After millennia of debate about how many aspects there are to human personality, current psychology has (broadly) settled on five. There are, of course, different opinions, but this blog is about these Big Five. Taken together, they are the factors that express the myriad permutations of personality.
Your novel is finished, edited, and edited some more, and now you’re ready to query. Writing a novel is tough, but summing it up in one page can seem even tougher.
The good news is that if you’ve ever picked up a book and read the jacket copy, you already have an idea of what you’ll want your query letter to accomplish. Both your query letter and jacket copy have the same goal: make someone want to read your book. Before you start writing your query, take a trip to your favorite bookstore or library and spend time reading the jacket copy on books that are similar to yours. That should give you some ideas for effectively enticing readers.
I recommend that your fiction query letter follow this structure in two or three short paragraphs…
The craziness that is my life has recently gathered momentum. In April, my debut children’s novel, The Huntress: Sea, is due to be published in the UK by Egmont, with Italian and German editions publishing with Rizzoli and Carlsen. Proof copies have been circulated to key media, nestled in faux-fur lined wooden treasure chests, and the book has been included as one of the Bookseller’s most anticipated children’s books of 2017. I am pinching myself every day, because this is my wildest dream — my only lifelong ambition — made real. And if there’s one thing I know amid all this crazy, it’s that I would not be here if not for my master’s degree in Creative Writing for Young People at Bath Spa University.
If you’ve been querying for awhile, or even if you haven’t, you may have heard the term ‘R&R’ tossed around. Unfortunately, it doesn’t mean “rest and relaxation,” at least not where writing is concerned. An R&R in publishing contexts means a “revise and submit.” But what does that even mean? And is it a death sentence for your manuscript? Not always, dear reader. I’m going to break down some common questions and misconceptions about R&Rs below, so get ready!
To put it simply, a hybrid author is someone who does both. It’s an author who self-publishes and traditionally publishes, each for various reasons. It’s someone who believes there is no right way or one way to publish a book.
For me, personally, these have been benefits and drawbacks to each process…
Some authors take on the view that marketing their books is not their job. I’ve heard, “MY job is to write a good book. Marketing is my publisher’s responsibility.” To an extent, this is true. You should be concentrating on writing your next best book. Your publisher should have a publicity team on your book, making decisions on how best to present and introduce the result of your blood/sweat/tears into the world. They should be getting the best exposure for you, and pitching your book to as many potential readers as they can get their hands on.
But know this: Your marketing team? They’re people. Like, most of them are human, even. And they were already spread thin before your book ever hit their desk. And your book? It only gets a percentage of their marketing time and dollars. So let’s regroup, shall we?
I gave up on Novel #1 after sending out 25 queries over a period of seven months. By the time I signed with my agent for Novel #2, I’d sent out 153 queries for a little over two years. What was the difference? Why did I give up on Novel #1 so easily, yet kept pursuing Novel #2 despite heaps of rejection? The decision to shelve Novel #1 (my passion project, my baby, as most first novels are) was actually not an easy one.
If you yourself are in Manuscript Limbo, here are some things to think about when trying to decide if you should chalk it up to a good experience and “trunk” your book, or buckle down for another round of revision…
Though I’m not an author, I can imagine the profound feeling of relief an author must feel the day he or she turns in that finished manuscript. After multiple rounds of revisions with your editor, debating which scenes to trim and which characters’ emotional arcs to fine-tune, after email chains of motivational cat videos… at long last, the book is done!
Well, sort of.
On March 30th, 2016, around nine in the morning on a normal day off, I stepped into the shower. It was a normal shower. Lather, rinse, repeat as needed, etc. Only as I reached out a hand to turn off the water I was suddenly smacked in the face by a feeling of complete and utter joy. No explanation, no reason, just the overwhelming impression that a bag of cement had lifted from my shoulders, my heart had grown a pair of shining pterodactyl wings and was heading for the top of the world, and someone somewhere was saying my name and smiling.
I stepped, confused and dripping, into the gathered steam, toweled up, and went to look around my apartment. Everything normal there, too. Bus line squealing outside the window, kids yelling in the daycare center playground, radio burbling away in the kitchen. Early spring sunlight slanting through the alley and pressing itself against the wall.
And a message from my agent on my phone.
Hey guys, Cassandra here! I’m so glad WriteOnCon is back and bigger and better than ever! For this panel you’ll get the perspective and advice from not just one, but a whole gaggle of freelance editors! We’ll answer the obvious questions, the not so obvious, and the interesting!
Let’s jump in, shall we?
When I was little my dad always used to say to me: “Writers write. Always.” It was a quote that he took from the Danny Devito movie, Throw Momma from the Train, and while I’m not sure that Danny Devito was one of my dad’s idols, he was certainly a huge fan.
This post is both invitation and game plan for all creatives who wish to learn how to work with a new mindset, one I call writing smart and not scared. Interested in joining in? Here are five steps to guide us along the way…
Creating relationships is critically important in your writing and are the building blocks of the books you write. I spent the first three years of my career working at Aladdin at Simon & Schuster where I became very familiar with middle-grade novels and that’s the age group I am going to start with.
Here’s a guide to what you’ll need to know from the moment you get the “when do you have time to chat” email from an agent to after the offer of representation. I hope all unagented WriteOnCon writers will need this soon!
Growing up in Singapore was a lonely journey for me, compounded by the fact that I am an only child. My ‘sibling’ was my Japanese Spitz. My solace was reading and writing stories on note paper. My imagination was my most cherished companion. I read just about everything. Encyclopedias, picture books, Enid Blyton, and – when I grew older – science fiction authors like Isaac Asimov, Anne McCaffrey, and Frank Herbert. It was not surprising that I started to write science fiction from a young age.
From labyrinthine museums to desolate outback mining towns. From crumbling rainforest houses to the stinking streets of Victorian London. Setting takes centre stage in all my stories. I spend a lot of time thinking setting, worrying setting, growing setting. I spend a lot of time loving setting to life. Why is it so important?
For me setting is bedrock.
In the summer of 2011, I made a very important decision: I chose not to play fantasy football for the first time in well over a decade… and I started working on my first picture book manuscript.
I spent the next two years furiously writing and learning as much as I could about both the craft and the business of writing for children. I made many mistakes along the way, doing my best to learn from them — and to be honest, I’m still learning lots every day… and every step of the way. But today I thought I’d share a condensed version of what I’d learned in those first two years.
My journey in publishing began in 2009, after graduating from college, and for as long as I’ve been in the business—admittedly, I hope these are still the relatively early days of my career—there’s been a quiet but consistent anxiety about the so-called “state of publishing.” There have been countless articles in the Times and Publishers Weekly, and there have been conversations had at book fairs—I feel like every year, I read an article about the “optimistic energy” at the Bologna Book Fair as though we’re typically such a downtrodden group of pessimists in the kid lit world—and all of these conversations center on the way forward for our business. There’s reason for the nervousness: with the rise of ebooks, Amazon and self-publishing and increasing competition for time with digital media, there’s a lot of newness and uncertainty. But if there’s one thing that books have taught us, it’s that uncertainty makes for a great story. I don’t know what publishing will look like in the years and decades ahead, but I know this: good stories will always be in demand.
Please note: All times are in EST. Keynotes will be on the regular blog, blog posts will be on a special blog, live events will be on a live event place. Instructions for accessing all this will be sent out one week prior to the conference.