Student Questions, Part 2

You worked as an editor before writing and publishing—how valuable were those connections in the process of writing and publishing your work?

Knowing other writers, learning how another author drafts a book or runs a business is invaluable in an industry where you spend most days by yourself. There are no built-in mentors or co-workers who can guide you. For that reason, the relationships you build early are powerful.

It’s different than many professional networks though—I’m not asking other writers to let me know about job opportunities or write a recommendation for me on LinkedIn. Rather, creative friends and role models shape your idea of what is possible as a writer.

Do self-published authors tend to have any social relationships with each other or do they mostly just interact with their audience?

Writers know other writers. I know both writers who live in my city writing across genres (non-fiction, children’s, romance), as well as writers from across the country who write books more similar to what I do (science fiction & fantasy). I keep up with a lot of my writer friends in online spaces like their social media or newsletters, but when we do meet in person at workshops or conferences, there is so much to talk about!

What was it like leaving Lawrence? Did you immediately try finding publishers? Or did you start writing first and then tried to find a publisher?

After I graduated from college, I joined the Peace Corps, then worked at an art museum. This book thing though…it wouldn’t leave me alone. So, I became an editor to help me transition into the book world.

For those who don’t know much about the writing world, there’s two ways to get a book
published—either sell your manuscript to a publishing company or do it yourself. Both
have their own unique sets of challenges.

I sought an agent for three projects—a memoir, a novel, and a non-fiction book—and
came up short each time.

When I wrote It’s Over or It’s Eden, I knew the book was so uniquely me, I had to publish it, regardless of whether it made any money. I’d also been hearing about independent publishing from a lot of editing clients of mine and was getting excited about all the possibilities self-publishing could bring. It was an easy decision for me.

What are the benefits of self-publishing and was it easier or harder than you thought it would be?

It’s been exactly as hard as I expected! As a book coach, I had a front row seat to the
challenges my self-pub clients faced, so I definitely went into this with eyes wide open.

There are a lot of short cuts in the self-publishing world like AI-generated covers and
narrators, poor editing, etc, but to me, it’s not just about having a collection of pages I can call a book. It’s about creating a story that could change someone’s life. I have very high standards for my work. I want my books to be indistinguishable from traditionally published books with wide distributions. As you can imagine, it is challenging living up to that standard, but I feel I’m producing work of quality.

The benefits are huge—I control my own schedule (I’m writing this blog post from Peru). I decide my own pricing and marketing strategies, and when I do well, I know it was my work that made that happen.

Do you have any goals or a desire to publish traditionally in the future?

I think one day I will, with the right project. I have the help of contractors now, but I can
see how if I keep growing my book list and audience (which I hope to), I’ll need a bigger
system to support that growth.

How do you choose which books to publish?

I get lots of ideas, but only a few make it to book level. Some base things I look for when deliberating over an idea:

• Characters that won’t leave me alone
• The desire to spend 1-2 years on the idea
• Enough scope to spin the original nugget to 300 pages

Just as much, it’s literary instinct. If an idea captivates me, if the story excites me, I write it down.

What’s your strategy for launching a new book? Do you follow the same process now that you’ve published multiple times, or do you change it up every time?

My strategy changes with each book depending on the audience I see for the book and what I’ve learned from past launches.

For instance, with Landsome Roads, I’m focused on building an ARC Team. Because
it’s my first fantasy book, I need the help of advanced reviews to show fans of romantasy whether this is the book for them.

I used to focus on social media a lot, but as platforms rise and fall, I’ve found it more
useful to focus on in person events and print or digital publications.

How do you market one of your books? Are you writing with an audience in mind or do you write then advertise towards the demographic you think would most enjoy your book?

First and foremost, I’m my own audience. I’m a voracious reader with a clear sense of what I like, so I let those instincts guide me as I write.

At the same time, I do consider audience demographics when starting a new book. Using Landsome Roads again for example, my target audience is women who are fantasy readers, likely on BookTok, possibly between the ages of 21 and 35. They like romance in their books but want it done well which characters that feel real. They probably learn about new books online and recommend their favorites to friends.

Reading that summary, you can see how parts of myself overlap into that demographic. So it’s really about writing books for different sides of yourself and figuring out who else might like it.

How soon after publishing one book do you start and/or continue writing the next book you want to publish?

I stagger the work so while I’m in production and marketing on my next book, I’m
working on a new one. Right now, I’m in a six-month promotion phase of Landsome Roads, but already editing the sequel. Additionally, I have another book in a new series ready for editing.

As I grow as a writer, I’m getting used to balancing multiple projects simultaneously.

Did you have to submit your work for consideration for the Hal Prize or was it selected without any outreach on your part?

I submitted my essay to the Hal Prize. Winning that award had a huge impact on my career. If I hadn’t put myself out there, I would have missed out!

Do you feel traditional publishing provides a validation for writing (e.g. many say an author is not a “real author” unless you have a contract with a publisher) or are you content and fulfilled through self-publishing?

Yes, traditional publishing provides a sense of validation—a literary agent sees value in
your work and brings it to a publisher who sees value in your work and they make your
dream a reality.

However, one of the metrics they’re using is whether the book is sell-able. That’s why
we see books written by ghost writers with a celebrity name on the front that hits the
bestseller list that, ultimately, many readers feel is lacking as a good read.

That’s just two angles of traditional publishing.

Independent publishing has its own pros and cons.

What it really comes down to is finding validation within yourself as an artist. It’s the
work itself that matters.

For someone who wants to publish something one day, what would you recommend I focus on in regards to my writing?

Use this time to experiment. Write stories and essays and non-fiction pieces. Short stories and novels and flash fiction. See what you like and how your voice grows on the
page.

A little earlier than you feel ready, share these pages with a trusted reader or writer in your life and get feedback. Soon after, seek professional editorial feedback.

Keep writing. Edit your pieces. Submit them to magazines or anthologies. Edit and resubmit. Write new pieces. Keep the cycle going.