I Found the Right and Best Way.

I thought I had bought the “right” coffeemaker. 

The best according to Wirecutter and Good Housekeeping and some other sites.

At first, I was excited to have made such a worthy investment in myself. After years of cheap machines, I had been able to invest in a quality coffee maker. I bought more expensive coffee, and was excited to taste the first sip.

Then I realized I had made a mistake. The way the coffee was brewed — a mechanical version of pour-over – made the coffee taste chalky and bitter. I bought brand after brand trying to find a coffee that would taste good in the machine.

After a few weeks, I realized that part of the problem was the carafe. While beautifully designed, it didn’t keep the coffee piping hot. 

For months I kept trying to find workarounds. After all, I had taken the time to find the right and best machine! But after one crappy cup in the expensive mug I had bought in an attempt to keep the coffee hot, I decided enough was enough.

I unplugged the “best” coffee maker and ordered the best one for me. 

On the very first day, I felt the difference. I was thrilled to have a hot cup of coffee that didn’t need a fancy mug (or a dozen workarounds) to taste great.

In the end, it didn’t matter what other people thought was “the best” or “the right way” to make coffee. 

Instead, what mattered was what was best and right for me.

The same is true for your book and entrepreneurial journey. 

The right and best way might be what everyone else is doing, or what I offer, and it might not be. 

And that’s all okay — because there is no one right or best thing. 

There’s only what is right and best for you, and what’s right and best right now.

I Have a Confession To Make.

I love country music. I have a near-encyclopedic knowledge of the artists and their hits that were all over the radio during the 1990s and 2000s. And while I’ll swear by Merle Haggard and Loretta Lynn and the greats, there’s a reason that a portrait of Dolly Parton is in my office.

I love the cheesy, over-the-top, pun-filled hits. I love Dolly — who you could argue is as artistic as anyone — but I also adore Garth Brooks, as wackadoodle as he can be in his personal life. I’m obsessed with Miranda Lambert and want her to be my friend. Hell, I have an entire playlist of songs about drinking just because I wanted to see how many songs I knew about drinking (hint: it’s a lot.)

I love country music and I’m not ashamed of it. (As well as 38 Special, REO Speedwagon, and the uncool version of Starship, but that’s another story.) And in the last couple of years, I’ve realized that my hobby, my love — my obsession — actually pays off in my writing.

Because country music, especially during the 1990s and 2000s?

Highly commercial. People LOVED that era of country music. 

Lots of people who wouldn’t be caught dead listening to country music were Garth fans, Shania Twain fans (bless their hearts), and in the 2000s, Taylor Swift fans. People would say things like, “I hate country music, but I like that song,” or “I don’t usually like country but I like her.” 

In fact, I would argue that a country artist who was smart about the lyrics but didn’t try to be an artiste during that era are some of the most commercially successful entrepreneurs of all time. That’s why you see pop artists occasionally doing country projects or doing little forays into the country charts. Country music is big business because it appeals to a lot of people.

And that’s what being “commercial” is — appealing to a substantial audience. It’s not about being smart. A lot of people dismiss country music because they think it’s stupid. Some of it — especially the “bro” country of the past decade — is. 

But good country music needs words. Lyrics. Stories. In a way that other musical genres do not. That’s part of the reason musicians from other genres usually appreciate country — it’s a harder art form to master. 

Like books and publishing, country artists and songwriters need a narrative. These writers use all the exact techniques that writers like you or I do.

When Kenny Chesney describes a beach, he’s got to show listeners what it’s like — not tell. If Carrie Underwood has a lesson she wants to teach, she’s going to share that in the active voice (and with a killer range). 

Country stars are great at branding, too. 

When I say Dolly Parton, you know exactly who she is and who she is not — without even having to be a fan. I could go on, but you get the point. 

The biggest takeaway I learned from country music — that I want to share with you — is that effective storytelling sells. But, if you do choose to listen, there’s a lot more to learn about three-act structure, surprise endings, turns of phrase . . . 

. . . And that puns (which build rapport) are always worth sneaking in somewhere.

The Dirty Secret About Coaches and Experts Who Promise You a Book Deal

Over the past year or so I’ve seen an explosion of people teaching how to get a book deal. 

And while I’m all about entrepreneurship in any form I must tell you what I know as an industry insider about group programs, retreats, and coaching that promises to help you become a published author.

Most suck. 

Many are disingenuous and are self-publishing companies in disguise.

Others are well-meaning but out of touch with current trends and what publishers want.

And some regurgitate things that they learned from an actual publishing expert like me. 

(Yep, my work has been copied. Or, as my husband said, people stole my shit and sold it.)

The truth is, the majority of the offers I see online — of book coaches, of authors using their experience to teach, of guides and courses teaching how to write book proposals — aren’t worth your time or money. 

The first reason is what you learn. Most of the programs I have seen focus on writing the book itself — rather than the marketability of that book. 

And that’s a big deal because most authors don’t just want to write the book. They also want the book to sell and be read. Which is unlikely to happen if you don’t have an audience or if the concept isn’t proven.

Second, it’s important to do your due diligence on who you learn from. 

Many experts don’t specialize — meaning that their advice may not apply to the book you want to write. 

Or the “experts” are authors themselves whose only results are their own. When that happens, there’s almost always people behind the scenes who aren’t being credited. 

(Like the person who is writing this email.)

Not to mention that most book coaches don’t have experience working within publishing — which matters a lot when you want to get a book deal. Industry insiders (like me) will know what literary agents are looking for books like yours and know exactly what publishers want to see.

I’m writing this email because I want every author out there to have quality resources and education from reputable experts. 

Unfortunately, there’s no qualification or certification out there to prove that anyone — including me — can truly help you get a book deal. 

That said, those of us who have years of experience, who have worked with hundreds of authors, and who have receipts to show — are probably your best bet. 

It’s my hope and intention that my advice saves you time and money, and puts you in capable hands that you can trust with your book, your work, and your dreams.

The Best Thing You Can Do for Your Book Today.

Write. 

So simple and yet . . . so many people who want to be authors don’t make writing a part of their daily life.

Within Author Platform Builders — my group of aspiring authors who need to grow their audience before developing their book — it’s become a bit of a joke.

I’ll say — “So you want to write a 50,000 word book . . .”

And everyone knows what’s next.

“But you don’t want to write a 500 word email?”

This exchange happens almost every time someone new signs up for the program. 

I don’t know why, but y’all tend to underestimate the power of writing as a practice.

I have written nearly daily for decades — first because it was a way to get my thoughts and feelings out, and then professionally for my job as an editor, and now for entrepreneurs and experts like you.

Writing is awesome — for your own personal growth and reflection, for your business (as a marketing and audience-growth tool as well as a way to communicate better with your clients and team), and most certainly for your future book. 

Developing a daily writing practice (or close to it) is kind of like learning to run long distances. (I also do that!)

It’s going to be painful at first. You might have to force yourself to do it, to follow through, to commit to it. But then you’ll see yourself getting better, find joy in the work, and end up missing the practice when you miss a day.

And eventually you may decide to run a marathon, or write one — in the form of a bestseller.

So — to paraphrase Michael Pollan (himself a bestselling author): 

Write words. Share with people. Daily.

What Does AI Mean for Authors?

In case you missed it, read why I think AI will not destroy publishing here.

What I didn’t touch on in last week’s post was AI and authors. To put it bluntly, authors are PISSED about how most current AI tools work (including me).

Because: AI “learns” using creative work without permission (or payment).

Comedian, actress, and author Sarah Silverman — along with novelists Christopher Golden and Richard Kadrey — are suing Open AI (the creators of ChatGPT) and Meta Platforms (Facebook, Instagram, Threads) for violation of intellectual property law.

Essentially — as reported in Vulture — “OpenAI’s ChatGPT and Meta’s artificial-intelligence projects rely on the mass trawling of books to learn language and generate text, the suits say. Silverman’s suit contends that these AI projects didn’t secure her and other authors’ permission for using their works before inhaling them, violating intellectual-property law. They also claim that these AI systems gained access to these books via spurious means, using libraries of pirated texts — or as the suits’ co-attorney Matthew Butterick puts it to Vulture, ‘Creators’ work has been vacuumed up by these companies without consent, without credit, without compensation, and that’s not legal.’”

If this freaks you out, you’re not alone. My business runs on selling my intellectual property, and I felt pissed to realize that someone was giving it away for free without my permission.

I wanted to see whether I had been trolled, so I put questions about traditionally publishing a how-to book into ChatGPT. I got answers that were suspiciously similar to content that I had posted online. As I asked more detailed questions, the answers got even more similar. 

Penguin Random House — the #1 traditional publisher in the world — sees this as copyright infringement, because it is. 

While we can’t predict the future of AI or the myriad lawsuits currently in process, we can, as experts, thought leaders, and wannabe bestselling authors, continue to write — because defining, refining, and sharing our ideas is what will grow our businesses and ultimately get us that bestselling book.

What You Need to Know About AI (For Now)

AI will not destroy publishing. At least not right now.*

Here are two big reasons I think that: 

1. The legal standing of AI-generated text. 

Because: Machine-written text can’t be copyrighted. 

This is good and bad. It’s good because that means people can’t ask ChatGPT to mimic someone else’s writing (like yours or mine), generate content, and then make money off of that by owning and selling it — whether the copy is “sold” as an article or a full-length book.

But it’s also bad because it means that you MUST substantially change AI written text in order for you to own that text. And even then — copyright will be decided on a case-by-case basis. Which is why I’m not using it to write this email, or create content for my clients. 

2. AI is getting canceled and sued

When authors got wind of Prosecraft – a “tool” authors could use to improve their work that relied on stolen content — authors protested on social media. The Authors’ Guild threatened to sue, and within days the company was shut down by its founder.  

And there are so, so many lawsuits.

All that said — none of this matters if you do one simple thing.

Write Yourself. 

I said this before ChatGPT and generative AI, and I will keep saying it. 

As experts and thought leaders and wannabe bestselling authors, the best thing you can do for your future bestseller is to write. You can write badly, write well, and get help with your writing but if you want to be a published author — get writing yourself. 

No tool needed.

*Right now is key, because tech — especially AI — changes quickly. If you’re reading this in 2024 or beyond, I may be wrong — or hopefully, proven right and supported by the courts.

A Free MBA for Your Nonfiction Book (And Your Business)

I feel like everyone looks around constantly and says, oh, I have an idea for this [book]. I have an idea for this [book]. What's the difference between some idea you have that would be great in the world and an idea that is an actual, workable [book]?

I was listening to one of my favorite podcasts, Planet Money, when host Robert Smith said that sentence. Well, not exactly that sentence. He said: 

“I feel like everyone looks around constantly and says, oh, I have an idea for this business. I have an idea for this business. What's the difference between some idea you have that would be great in the world and an idea that is an actual, workable business?

It struck me that Smith’s question — which was posed to Columbia Business School professor and venture capitalist Angela Lee — applies to books as well as to businesses. 

On the podcast, Angela Lee said that she has been pitched over 20,000 business ideas — but only invested in 100. 

My experience has been similar. Like Angela, I've been pitched ideas by would-be authors everywhere — in restrooms, at bars, and once in a pool on vacation in Hawaii. I’ve heard thousands of book ideas in my career — some good, many bad, a few laughable. 

And, also like Angela, I’ve seen that only a small fraction of people take action on their idea. That’s because there is a giant gap and a whole lot of work between an idea that is fun to talk about and a successful book.

I want to help you cross that gap.

This post publishes on September 5 — which means there are 118 days left in 2023. 

What that also means is:

• Books that will be traditionally published in 2024 are basically done. The clients we’re excited about for 2024 have gotten a literary agent, sold their proposal to a publisher, written and edited their manuscripts, and are preparing to promote and sell their books.

• The proposals I’m working on now will be sent to literary agents in the next 6 to 12 months and (hopefully) become books in 2025 or 2026.

• Entrepreneurs and experts with over 100,000+ followers who want to write a book are likely to finish proposals in 2024 and have their books published in 2026 or 2027.

• And everyone else reading this email?
  Can work toward their own book deal by sharing and testing their ideas, proving out their concept, building an audience, and growing their business so that another year won’t pass them by (hoping, wishing, dreaming).

To help you out, here’s a link to the Planet Money podcast. Every episode is insightful, but what I think will be of particular interest to y’all is the Summer School series, which starts here. It’s essentially a free MBA for entrepreneurship in 30 minute episodes, and I’ve found it to be really useful for my own business.

3 Lessons I Learned From Nastygrams

Once a month, I receive an email or comment that feels angry, mean, or spiteful — usually from an author who disagrees with whatever message I’ve put out there.

For a lot of leaders and entrepreneurs, receiving negative feedback seems like a terrible outcome. 

Someone doesn’t like what you’re saying, actively disagrees, and could disparage you and your work all over the Internet. 

That’s the worst, right?

Actually, no. I remember three key lessons every time I get offered haterade.

First — some of the most influential authors and books I’ve worked on had thousands of haters. 

Here’s why. 

Having haters means that your message is provoking an emotion in folks. And that’s true even when the feedback is negative. 

Think about the times that you’ve responded to an email, or even posted a review of an experience you’ve had at a restaurant or hotel. It usually has to be really bad or really good, right? The same goes for your email messages and social media posts and ultimately, your book.

Second — criticism gives me the opportunity to ask myself an important question.

Is this person right?

Admittedly this is a trick question. 

Most of the time, I find that a mean message comes from the sender’s experience and a part of themselves that’s hurt. It has nothing to do with me and what I’m saying or doing.

Third — I love haters because it gives me an opportunity to change my mind. 

Earlier this summer, I gave a virtual presentation to a group of entrepreneurs. 

The presentation was on how to grow your business by publishing a book. I presented what I believe to be true — that traditional publishing is the best way to reach thousands of readers.

The reactions were swift, starting with nasty DMs during my presentation.

Afterward, when formal feedback arrived, multiple people said that I was more focused on selling my services than actually teaching them how to sell their books. 

Even the coordinator took the opportunity to lecture me about the professionalism of my slides (or lack thereof). 

One thing was clear — I definitely provoked emotions in these folks. 

I also knew the feedback wasn’t about me. From the messages I received, it seemed like these authors wanted to be shown easy ways to use underperforming books to boost their business. 

Which is the exact opposite of what I teach.

Ultimately, that group wasn’t a great fit for me and vice versa.

But there was a benefit. As a result of that workshop, I decided that I would not try to convince anyone that traditional publishing is the “right” way to become an author.

Because here’s the truth. 

Traditional publishing IS great — for people that want to grow a large audience, for people who want to hit the bestseller lists, and for people who want to be known in their niche.

Traditional publishing is also important for folks who want to support independent bookstores, have their book in airports, and who want as wide a distribution of their work as possible.

But self-publishing and hybrid publishing also have their place.

So, I’m not going to try and convince you that traditional publishing is right, or that working with me is the answer. Because it might not be. 

But what I will do is encourage you to explore all of your options, including traditional publishing. Because a book deal is possible for you — if that’s what you want.

Even if your haters say it’s not.

What Happens When My Clients Don’t Get a Book Deal

The worst happened.

My client, who I’ll call Dani (not her real name), didn’t get a book deal. 

We had worked for months on her book proposal, and secured a literary agent with a great reputation. After some revisions, her literary agent sent the proposal to editors at every major publisher in the United States. After a round of exciting meetings in New York, the emails started to come in. 

Thanks, but we already have a similar book coming out in 2024.

I liked Dani, but this isn’t for us.

Regretfully, we’ll have to pass.

Dani’s literary agent was stumped, and didn’t have an action plan.

But I did.

First — Dani got out of her agreement with her literary agent so that she could have the flexibility and freedom to do whatever she wanted with her book in the future.

Second, I emailed a friend who worked in the foreign rights department of Penguin Random House to ask for suggestions on who might be interested in the book abroad. As an online entrepreneur based in Europe, Dani has a large audience internationally. I figured that editors and publishers in the UK (which is the world’s second-largest publishing market) might be interested.

And lastly, I revised the proposal to address the objections we had heard, at no extra cost to Dani. Suddenly, Dani had a second chance at her dream. And while it’s still not a guarantee, both Dani and I will know that we gave it our absolute best shot. 

Which is what I do for each and every client I work with — whether that’s the 80% of clients who do land the six-figure deal of their lives, or the 20% like Dani who don’t land their dream the first time.

10 Things I Hate About Self-Publishing

10. It’s so easy that people do it before considering their options.

9. A self-published book that sells poorly destroys the chance to get a traditional deal later.

8. “Experts” in self-publishing are often just authors themselves, with zero experience publishing books other than their own.

7. Companies that help folks self-publish often fail without much notice, leaving authors stranded.

6. Authors of color and from marginalized communities often believe that self-publishing is their only option, which it’s not.

5. Self-published books only support Amazon and do not end up in libraries, independent bookstores, at Barnes & Noble, in airports, or on bestseller lists (99% of the time).

4. Ads for self-publishers are deceptive and misleading. 

3. Books that could have helped thousands of people . . . don’t. (See #5)

2. Authors don’t know what is involved in writing, producing, and selling a book successfully — and therefore fail to do so.

1. Most authors I speak with express regret that they self-published instead of giving themselves the time, space, and chance to get a traditional book deal.

If Everything With Your Book Deal Worked Out, What Does That Look Like?

“If everything worked out, what does that look like?”
That’s the first question I ask my clients.

Sometimes, authors want their books to be New York Times bestsellers so they can use that imprimatur on everything (maybe even their Tinder profile). 

But more often, the answers include beach chairs. 

I work with entrepreneurs, experts, and thought leaders who dream big.

These creatives tend to think of publishing a book as a stepping stone.

And I don’t disagree. 

I think that at its best, a book creates what I call the “snowball of awesome” — it helps readers and expands the author’s potential for profit. 

A total win-win.

But to get there, you need a special sauce. 

You need a combination of editorial and marketing that will satisfy your existing fans — many of whom may have bought a more expensive, or custom, service —  while also bringing new people in.

That’s a delicate balancing act. 

I help my clients achieve that feat by reverse-engineering the content of their book. We work from that dream outcome backward, to fit the book into their existing business while also keeping the end goal in mind. 

Want to land on a beach with passive income supporting your excursions?

Cool. Then you probably want your book to feed into an online course where you can. 

Want to make a bigger impact with your revolutionary message?

Awesome. Then you should focus on writing something that will send shock waves into the community you’re trying to change. 

By keeping your end goal in mind, you avoid a common mistake — writing the book that comes easiest or that everyone is saying you should write. 

Instead, by designing your book into your dream business, you avoid trapping yourself in a life or a message that won’t feel right in the future.

Let’s Talk About Those “International Bestselling” Authors . . . 😏

I know her, and I bet you do, too.

The colleague who calls herself a bestselling author . . . but actually isn’t?

I have a friend like this. I bought her book, which was published by a reputable self-publisher.

Don’t get me wrong. She wrote, published, promoted, and continues to sell an excellent book. 

But it’s not and never was a bestseller — at least not by my definition.

Within traditional publishing, a bestseller is a book that appears either in The New York Times or The Wall Street Journal on their top sellers list. Preferably in print. 

That is the only way you’re ever going to officially be a bestselling author in traditional publishing. 

The rules are stringent because publishers know that not every book can, or should, be a bestseller.

The bestselling books that I’ve been a part of were a whirlwind of extraordinary success. 

A book where the numbers came back and people’s jaws dropped in conference rooms. Where people asked “how the fuck is this happening,” and were genuinely thrilled, surprised, and excited.

Where thousands of copies sold in days and weeks, either through the author’s epic hustle or a miracle of hitting the cultural zeitgeist at exactly the right moment with the exact right message.

Or both.

You see, a bestseller should be special. It’s not a book that is listed as #2,044 in an odd subcategory on Amazon. 

It’s not a book that has only sold a few thousand copies (though that’s better numbers than I see for most self-published books). 

And it’s certainly not those multi-author compendiums that people are paying for in exchange for the ability to call themselves a bestselling author.

So — don’t fall for this bullshit, because that’s what it is — bullshit. 

The only bestsellers are here and here. 

Read them, learn from them, and by all means — try to be them instead of calling yourself a bestselling author for hitting #1 in some obscure category for a minute.

How Data Helped Sell 10,000 Books

Unlike a lot of people in publishing, I love data.

I learned about data from my husband Scott whose expertise is user experience design. When we first met, I was blown away by all the testing and data he would do before launching anything — and he was blown away by the fact that traditional publishing, then and now, is entirely subjective.

I know I’m successful because I use both data and instinct to my advantage.

(Thanks Scott!)

I know that 44% of the people who have subscribed to my list will open this email.
I know that the average advance my clients receive is $175,000.
I know that 50 of you will take our quiz this month.

I also look at my clients’ data to help them make decisions. 

For example, a few years ago I had a client whose audience is K-5 teachers. Her audience was huge and engaged across multiple platforms. She had Facebook groups, an active email list, thousands of followers on social media, and even a strong Pinterest audience.

But her podcast? Barely got 10% of the attention any other post on any other platform would get. Her blog did better. After looking at the data, I suspected that she should stop doing the podcast. My client and her team agreed, killed the podcast and then two weeks later Apple decided to end the entire K-5 education category on their podcast app.

Because, as the data showed, K-5 teachers didn’t listen to podcasts. 

Instead, they read blogs, made Pinterest boards, and participated in Facebook groups.

Thanks to data, my client knew where and how to put her efforts, not just in growing her audience and business, but promoting her book, too. She sold over 10,000 copies in the first month because of what we found out writing her proposal. 

It may seem counterintuitive to apply something quantitative, like data, to a relatively squishy artistic endeavor like writing a book. But I’m here to tell you that figuring out what data to track is not only useful but essential to become an author. 

If you write a book not knowing what people want to hear from you, you’re basically taking a wild guess. You’re throwing time and effort into the world not knowing how it’s going to land.

But when you’ve been tracking how people respond to you — on each type of messaging and on each platform or medium you’re in — you know exactly what will happen or close to it. 

You’re able to look a literary agent or a publisher in the eye and say: I can sell 10,000 copies and here’s exactly how I’m going to do it.

Find the Right Help for Your Book

A few weeks ago, C. responded to one of my weekly emails saying 

I want to know how to find people to help me with everything I need — writing, publishing, finding reputable publishing houses, editing . . . 

And she’s not alone! 

So often, I can tell that my services are not right for y’all just based on what you say when you contact me. That’s why I’m going to break down what different folks do in the publishing world, so hopefully you know who to work with next. 

(And if it’s not me, feel free to unsubscribe. You won’t hurt my feelings, I promise.)

The first question to ask yourself is — do you want to write fiction or nonfiction?

Fiction is made-up. 

Novels, stories, children’s books, books for young adults — all fiction. I don’t work on fiction, so you should unsubscribe and find an independent editor FIRST before querying agents. Independent editors vary a lot in terms of experience, quality and price but in general — you get what you pay for. Look for positive testimonials and past experience with publishing (either as an editor or as a successful author).

Nonfiction is true, or based in truth. 

There are two broad categories within nonfiction — narrative and prescriptive. 

Narrative nonfiction is story-based and you guessed it — narrative. 

Memoirs, stories about your life or the lives of others (in history, biography, politics, or books about social issues) are all within this category. And I don’t work on that, either. Your best bet here, again, is to hire an independent editor who can work with you to improve the writing and therefore your chances of being published.

Prescriptive nonfiction is what I work on — where authors prescribe advice based on their experience or expertise. This is often called self-help or how-to. If you want to write a book to solve a reader’s problem, chances are you’re writing prescriptive nonfiction. 

More specifically, the authors I work with tend to be entrepreneurs and subject matter experts who want to reach thousands of readers with their work. The books my team and I have helped to publish in the past few years have been about personal finance, diet and health, parenting, business, leadership, gender transition, and personal growth as well as diversity and inclusion. (If you’re writing on those topics — you’re in the right place! Yay!)

I hope this breakdown helps you with your next step.

Two Kinds of People You Will Meet When You Write and Publish A Nonfiction Book

There are two kinds of people in the publishing industry (and online) who can help you with your book.

The first — and this is the majority — are what I call Editorial People.

Editorial People are squishy and sentimental about writing. They may or may not smell the pages of a new book or smile at the first crack of the binding. Editorial People are all about the words on the page and the experience of writing and reading. Editorial People love to help the author.

The second type — where I include myself — are Platform People.

Platform People see the impact that a book can have — on readers. 

Yes, the author benefits — but Platform People are All About That Change. Usually their lives were transformed by a book when they were young and now they want to help do that for other people — specifically, other readers. Platform People see the benefit of writing a book for the author, sure, but they’re really in the work for the impact the books make.

For you — as an author yourself — it’s helpful to know who you are dealing with. 

An editorial person may dismiss platform as an unnecessary concern (which it’s not) while a platform person may not validate EVERY BIG FEELING you have about writing your book. And that’s okay. 

Ultimately, the publishing industry has a mix of Editorial People and Platform People so that authors get the best of both worlds. 

But what I see online is a disproportionate amount of Editorial People who, with all good intentions, say that your audience and author platform doesn’t matter. 

Which, in the traditional publishing world, simply isn’t true. 

It takes a combination of platform (an audience and the ability to sell books) and editorial (the book idea and writing itself) to land a book deal and make your book successful. 

And building a platform takes way longer than creating editorial content — which is why I advise you to establish your brand and audience first before diving into writing your book.

When You Should Give Up On Writing a Book . . .

I have a ukelele on my living room wall that I bought optimistically.

Every so often, I think I’m going to learn to play that . . . but never do.

Despite saying that I want to — 

Despite knowing that I could definitely learn to play some island tunes —

And despite knowing that it would make me feel really proud to have people over and play music the way my grandparents did — 

The ukulele stays on the wall. Even though music used to be a dream for me. As a teenager, I used to write songs and practice singing and dream of being on stage. I gave up on my dream of being a singer in high school, when I practiced for a solo and my dad thought the cat was trapped in our basement. (True story.) 

Looking back, I could have tried harder and done more. I could have asked my teacher for a lower part, or individual help. If music had been my ultimate passion, I might have asked my parents for lessons or learned how to play an instrument.

The reason I’m not Taylor Swift right now might be the same reason you’re not a bestselling author right now.

It’s because for me — music isn’t worth it. 

My desire to play the ukulele or be on stage isn’t strong and persistent enough for me to spend hours practicing, to face seemingly endless rejections, or even to do the day-in, day-out work that being a musician requires.

And that’s okay.

I was — and am — okay just being a fan. There’s music on every single day in my house, and that’s enough for me. 

But back in the day, I thought I had another way into the music industry — through radio. Working at my college radio station, I dreamed of being in A&R. I wanted to find artists and support their careers, make their dreams happen. But then after running that radio station and getting a glimpse at what the music industry was really like, I decided not to pursue it. 

And in the end, giving up on those dreams was the right choice.

Essential, really, because freeing up that space and time led me to other adventures.

After my dad thought I was a cat, I swapped out practicing scales for reading.

When I quit the radio station, I switched my major and ended up in a creative writing class where the professor thought I was a better editor than writer. 

Those choices led me here, to writing this email, to you.

A few months ago, I heard a music show on Apple Music featuring ’90s country. 

I really liked the host and sent him a DM saying how much I enjoyed his show. I told him — as I do whenever I fangirl someone — that if he ever wanted to write a book I would be happy to help.

He’s now a client, and has told me that the work I do is exactly what an A&R person would do in Nashville. The only difference is that I’m working with words instead of music.

Dreams are a funny thing, y’all. 

Sometimes I think a dream is simply a nudge from the Universe or God or Source or whatever you believe in — pointing us in the right direction. When I look back I can see how all of those dreams I had, whether it was to be a performer or a radio DJ or an A&R rep or even the dream I had in my 20s of being a powerful businesswoman in a suit yelling into a Bluetooth headset — all came true.

Just not in the way I had originally pictured.

So — you might be wondering, how does this apply to you and your book?

First, I give you permission to close the door on your dream of getting a traditional book deal if your desire is fading. Or inconsistent. Or meh. 

Because in my experience, anything less than I have to or I must isn’t going to work.

Second, I also give you permission to allow the nudge that led you here, to reading this email, to work its magic. You might not be ready to pursue a book right now, for whatever reason, and that’s okay. 

And lastly — when you are ready to go all in on your dream, I am here for you.

A Change You Should Know About

Y’all I am exhausted. 

Not by helping people write books, because that’s what I love to do. 

But by explaining over and over and over again what it takes to get a book published.

Mostly for free, and most often to folks who feel disappointed, discouraged, or even angry with me about the reality of book publishing.

Which is this: You must have an audience for your book to be commercially viable.

Note the part about being “commercially viable” — which to me means that a literary agent and traditional publisher will be interested in working with you because they believe your book will sell thousands and thousands of copies. 

Let me be clear: Having a commercially viable book doesn’t happen because you have a great idea. It happens because you have an audience and proven content that gets results for thousands of people … before a book is out in the world.

And I’m happy to help you with that — when you’re ready to take that on. 

In the past year, my team and I have talked directly to over 200 people. 

And that doesn’t count me responding to your emails and DMs, writing (hopefully) helpful emails and blog posts, and sharing what I know on social media.

What I’ve found is that most folks need time to process. 

Learning that traditional publishing requires you to have a large audience (usually more than 100,000 people), be willing to promote yourself constantly to sell 20,000+ books in the first year, and spending a few years becoming visible, testing your content, and growing an engaged audience while also doing everything you’re doing now — 

It’s a lot to take in on a single 30-minute call.

So I’m doing us both a favor. I am no longer offering consultations for folks who don’t have a substantial audience (yet).

Instead, here’s how it’s going to work.

I am going to encourage everybody who gets my emails, reads this blog, follows me on social media, or is interested in working with me to take the quiz. This is my way of saying thank you because by answering eight questions you will get an answer to the #1 question.

How and when will I get my book published?

Would You Make a $100,000 Bet?

Today I’ve decided to shift perspective and share how publishers think.

When an author like yourself gets a book deal, it’s because an editor at a publishing house — like Penguin or HarperCollins — has convinced their boss (a person who holds the actual title of Publisher or Editorial Director) and likely multiple other people (often in publicity, marketing, and sales) that your book is going to sell and make them a profit.

This is a really big hurdle for three reasons, all of which involve something surprising.

Math.

Let’s start with the publisher’s investment (reason #1).

An editor at Penguin Random House told me that they invest over $100,000 in every book they decide to publish. If your book sells for $28, that means you have to sell approximately 3,600 copies right?

Wrong. You are forgetting about the author’s advance, or what you get paid for the book. Let’s assume you get a six-figure advance because that’s what the authors I work with receive. Assuming that you receive $100,000 as your advance, now your book needs to sell over 7,000 copies to make a profit for everyone involved.

You might think, okay cool — I’ll get 7,000 people to follow me on LinkedIn! 

But here’s more math. Not everyone in your audience will buy your book (reason #2).

Based on what I’ve seen over the past three years from my clients, only 5% of your total audience will buy your book. So if you’re expecting 7,000 copies to be sold, then you need an audience that’s at least 20x that size — or 140,000 people. And that’s the minimum. 

That’s why reaching 100,000 people is the floor, not the ceiling.

And lastly, there’s one thing that’s totally out of your control. 

Previous sales numbers and experience for books like yours and authors like you. 

Yep more math — but also emotion and opinion, which can be harder to argue against. This is a wild card because it can swing strongly to both the positive and the negative. 

Let’s pretend you are a sales expert and have written a book proposal about how to make more money with your unique approach. An editor can have experience with sales books doing really, really well and decide that they want to acquire the rights to your book because of that — or the exact opposite. The same is true for literary agents choosing to represent you (or not). 

Ironically, this is the reason why some of the most successful books I’ve worked on were the hardest to get deals for. Because literary agents and editors had preconceived notions about how well that book would do that were based on the past, not what could, and would, happen.

And while you can’t control the subjective opinions of others — ever — what is in your control is the math. 

How many books you are able to sell, realistically, based on your audience, and how big that audience is. So that when the publisher calculates that $100,000 bet — the odds are in their and your favor.

How a Car Salesman Became a Bestselling Author

When I was an assistant, I was given a handful of reissues to work on. 

You probably have read or bought a reissue without even realizing it. 

Reissues are often slightly updated versions of books that have consistently sold year after year, decade after decade. The publisher might change an outdated cover design, for instance, or update language. Like changing “answering machines” to “voicemails.”

Recently I was doing some research for a client about sales books and remembered a reissue I had worked on way back in the day. Joe Girard’s How To Sell Anything to Anybody was originally published in 1977, and I worked with him when I was just starting out as an assistant in 2006.

For fun, I looked up Joe’s sales numbers. That book is still selling 300 copies a week.

And because Joe was elderly when we worked together, I wasn’t even sure Joe was alive. (He passed in 2019, at the age of 90.) 

You might expect me to say that Joe sold thousands of books because he was the ultimate salesman. He did literally land in the Guinness World Records for selling 1,425 cars in 1973! 

But his success wasn’t entirely due to that. Instead, it’s because he wrote a book that remained relevant. People needed to learn sales techniques in the 1970s. And the 1980s. And the 1990s. And the 2000s. And the 2010s. And still now, in 2023.

How to Sell Anything to Anybody wasn’t trendy. 

Instead, it was a solid book that taught readers something that people need to know, consistently, no matter what is going on in the world. That might be why I’ve worked on personal finance books the most during my career; we always need to manage our money. 

When thinking about your book and your impact in the world, I encourage you to ignore trends. Whether it’s quiet quitting or hybrid work or [enter your buzzword here] most of the time it’s better to focus on what you have to share that is perennial. That will last for years.

And if you’re lucky — decades.

3 Questions to Ask Yourself Before Writing A Nonfiction Book

I bet you’re reading this right now because you’re excited about becoming an author.

People have told you things like “you should write a book” and “you have a book in you” and after years of nervously laughing in response, you are ready. Right?

Not exactly. 

You see what I’ve come to realize is that many, many people are thinking of writing a book prematurely — before they’ve really considered their goals or what publishing a book requires. Over the past few years, my team and I have spoken to so many people that we felt were “kicking the tires” of writing a book or “picking our brains” about what a book could mean for them. And while I love to help out, it’s not sustainable when there are thousands of people reading my content every week. 

(Also — thank you!)

So — here are three questions that I’ve come up with that have helped people really understand whether they want to traditionally publish a book (or attempt to). 

Question #1: Why do you want to write a book? What do you want to see happen? 

Get practical about this. 

“Inspire people” or “change organizations” are not real answers. 

“Use my audience to help thousands of teachers stay in the classroom” is.

So is “Hit the bestseller list by building an audience of thousands and a reach of millions.”

Question #2: Are you willing and excited by the prospect of building your audience to thousands (maybe even millions)?

If you’re not — then it’s likely that traditional publishing isn’t for you. 

Traditional publishers expect to sell at least 20,000 copies of every book — in the first month — and to do that you need an audience of at least 100,000 people. If you’re not willing to grow your audience (and business) to that level, then traditional publishing is likely not a good fit. 

(And what I offer won’t be a good fit either.)

Question #3: Are you willing to work on your book for 2 to 5 years? 

Because that's the timeline. 

If you want to move faster, for any reason, I suggest searching for either a hybrid publisher or a self-publisher, who can work on your timeline.

I want to be clear that your answers to these questions are not right and wrong.

It’s simply to help us both figure out whether your goals are a good fit for traditional publishing (and what I’m able to help you with) — or not. 

That said, when you do decide  

I want to go big

I want to go legit

I want a six-figure advance and to see my name on the bestseller list for real 

— I’m here for you. Take the quiz to find out your next step, and I will automagically share ways for us to work together and accomplish those goals.