“I rewrote that book for six years, and it never sold.” My interview with author Jessica Strawser

On the surface, one would think that Jessica Strawser was perfectly placed to easily become a novelist. She was the Editorial Director of Writer’s Digest magazine — someone who had incredible connections in the publishing world, and understood it inside and out.

But her reality is different than the fairy tale that we tell ourselves about how a writer succeeds.

Today, we are going to dig into her creative shift to becoming a full-time author. I can’t even express to you how excited I am to share my interview with her, it is filled with insights and inspiration that will help you on your own path in your writing life.

You can listen to the podcast by clicking ‘play’ below, or in the following places:


Here are some highlights from our conversation:

  • She describes her early days of attempting to write a novel: “I was the queen of having things that I started, and then would lose interest in them really quickly. I had so many false starts. I never stuck with it.”
  • She developed a serious writing habit once she was married, had a full-time job and kids. I loved her response when she was thinking back on her youth, “I think back on all those nights where it was just me, in my apartment, with a bottle of wine, and I squandered it. I would start half a chapter and then watch Allie McBeal reruns.”
  • What changed for her: “Wanting to be a writer is not the same thing as having a story that you want to tell. I don’t think I had a story that I felt compelled to tell”
  • On writing her first novel: “I rewrote that thing for six years, and it never sold. But I learned so much while I was doing that.”
  • To my surprise, she purposefully didn’t use any of her connections that she had through Writer’s Digest. In fact, she did the opposite! She hid her writing from everyone around her and purposefully submitted to agents that she did NOT know, instead of agents she did know. She described it as “a completely backwards approach.”
  • She spent half a year submitting it to agents, and when she got a ‘revise and resubmit’ request from one agent, this is what she did: “I opened up a brand new document and I rewrote the entire novel. I took about 9 months to do that. Then he signed me on the revision.”
  • She did sign with that agent. He started shopping it, “I slowly collected rejections on that novel for 18 months. While I collected those, I wrote another novel.” This is such a reminder of the sometimes glacial pace of a writing career.
  • When that book failed to sell, this is how she describes her situation: “I had two novels and no agent. I actually thought about stopping — taking a break. It was really exhausting. I thought, maybe I should put this dream on hold for awhile.”
  • When she signed with a new agent, they decided to not seek publication on Jessica’s first novel, and instead she went out with the second novel. “She sold it in less than two weeks in a pre-emp. It was the exact same manuscript that had been sitting on my hard drive for months while I tried to figure out what to do with it.”
  • Her story of when she received the news of her book getting sold is the embodiment of how complex it is to raise a family, work a full-time job, and have a writing career on the side. I asked her about the moment when she found out her book sold to a publisher. She says, “Do you want to know reality? My daughter was one, she had fallen and tripped the carpet at daycare, and knocked out one of her four teeth. I get this call from daycare that my daughter knocked out a tooth and is gushing blood. I flew out of work, frantically calling dentists. She was okay, but she was just going to not have a tooth in that spot for about 8 years. When I got home, I was cleaning blood out of shirt, and my agent called and said, “What did I catch ya doin?” She then told me we had an offer. It was one of those days that you are caught up in the disaster that is your every day life. [To celebrate], we were going mattress shopping that night, so we bought a king instead of a queen. That was our splurge. It was very glamorous.”
  • We talk about her experience in marketing promoting her books. “No one should underestimate the amount of attention and time that goes into marketing and publicity. It is a big undertaking and it is as much a part of the career as the actual writing is.”
  • She describes this time when she was publishing one book, writing another, and working a full-time job as: “I think I was existing on the smallest possible amount of sleep that anyone possibly could.”
  • When she left her full-time job to become a full-time author, it was not easy to shift her creative process from being an evening writer to a daytime writing. “It took me 6 hours to do what I used to do in 2 hours. I used to be able to use my day to prepare myself for those 2 hours that I was going to write after my kids were in bed. I would know what chapter I was going to work on, I would jot down notes, I would dictate to myself in my car on my commute. I would psyche myself up for it. I lost that [when I had all day to write.] I ended up clicking around on Facebook and the next thing you know, it’s lunchtime. I do have self-discipline, but I had to recalibrate, and there was a learning curve.”
  • Her advice for writers: “One of the things I would see so often at Writer’s Digest is that so many people just want someone to tell them the way, the steps to take, the path to follow to get it done. But it really is different for everyone. Even if you head down a wrong path for awhile, that is what needs to happen to get you to where you are trying to go. It’s smart to be aware of how other people find their way, and how it usually works, while at the same time, don’t get too get caught up in it. You can get distracted by what other people are doing and if you aren’t careful, you can spend the whole day feeling like you are doing it wrong. But there is no such thing as doing it wrong. If you just keep at it — persistence is huge. You have to be bullheaded about believing in yourself, while also being open-minded and flexible in how you get it done.

You can find Jessica in the following places:
jessicastrawser.com
Her books on Amazon
Twitter: @jessicastrawser
Facebook

“I trained myself to write anytime, anywhere, in a split second.” My Interview With Author Elizabeth Spann Craig

Today I’m excited to share my interview with author Elizabeth Spann Craig. Okay, let’s get the impressive stats out of the way first:

  • She writes 3.5 books per year.
  • She has written 27 books since 2009.

She shares so much amazing advice about how she writes, manages her publishing career, and attends to her author platform. Some of what we cover:

  • How she abandoned earlier books she wrote because she hadn’t yet found her voice. She had just thrown away those manuscripts a few months ago.
  • How she wrote her first book while caring for a kindergartener and a baby (who didn’t like to nap) “I could get her to watch Elmo’s world, and I could fit in 15 minutes of writing. 15 minutes a day, I had a book in less than a year.”
  • How the first publisher she signed with closed shop before her book was published.
  • Over a three year period, she wrote another book and queried more than 100 agents. When she was rejected by all of them, she then broke the rules: she submitted the book directly to multiple publishers at once (without an agent.) Two publishers were interested and she signed with one.
  • After she signed with a publisher, Penguin reached out to her to congratulate her and say that they were going to give her an offer when they heard she had already signed with a different publisher. What she did next astounded me. Elizabeth wrote back and said, “Is there anything else you would like to have written? I can write anything.” The editor wrote back saying that she had a new series that she needed a writer for. She asked Elizabeth for 30 pages, which lead to a contract.
    She credits many collaborators who helped guide her along the way, including her agent and other writing mentors.
  • Elizabeth is honest about her process in a way I don’t often hear writers talk about: “I’m a commercial writer: I wrote for a market. I’m very deliberate about that. Fairly calculating. But it’s also a creative challenge, because I have these parameters that I have to work within.”
  • How did she find the time to write and publish 27 books in the past years? This is how: “I trained myself to write anytime, anywhere at a split second. I had notes on my phone, I had Google docs, I had stuff ready to go. I always started out waking up an hour before my family. So that meant 4:30am. I would get enough of my goal done in that hour where I felt already good about it. Then I wrote in both carpool lines, I did afternoon pickup. I would pull the seat all the way back, put the laptop between the steering wheel and myself, and type. I was usually in the carpool line about 45 minutes before school let out, you are on the street otherwise. I got the words done. If I was at a doctor’s appointment — no matter what it was — anytime I had dead time, like oil changes, I would pull it out and start working on it. Five minutes here, five minutes there. Also in five minutes, you can make your story progress by making a list of possible endings, plot or setting details, or just little lists that can go into your story later.
  • Her connection to readers: “The relationship I have with my readers is very tight. In terms of suggestions, complaints, I’m very responsive. I’ll write you back 20 minutes later if you email me.”
    Why she moved to self-publishing, “I was making more money self-publishing than I was from my two Penguin books. Money talks, so it was clear to me that I had to keep self-publishing.”
  • How she manages her author platform  and social media, and why she has written a blog for years, why she engages so actively in the online community with others writers. She said, “Honestly, I think that is the favorite part of my day.”
  • I asked how she stays on top of blog and trends, and she said, “I subscribe to 2,700 blogs.” She explains how she goes through this to create what she shares on social media.
    “Every day I’m writing is a good day.”

 

You can listen to the podcast by clicking ‘play’ below, or in the following places:

You can find Elizabeth in the following places:

The Essential Ingredients of a Writing Career: Hope and Perseverance, My Interview With Author Therese Walsh

I’m so excited to share my interview with author and editorial director of WriterUnboxed.com, Therese Walsh. In our chat, we dig into:

  • How she co-founded a blog that turned into a thriving online community for writers.
  • The realities of the book publishing business, and how to develop the right mindset to navigate it.
  • What she has learned from the writing community through years of engaging with thousands of writers.

You can listen to the podcast by clicking ‘play’ below, or in the following places:

You can find Therese in the following places:

Keeping a Book Alive (and Selling Thousands of Copies) Two Years After Launch, with Author Cathey Nickell

Today, author Cathey Nickell shares details of how — two years after release date — she has ensured her book gets in front of readers, and has sold thousands of copies. Cathey is the author of Arthur Zarr’s Amazing Art Car, and she recently finished her 50th school visit, presenting the book to kids. Everything that Cathey shares illustrates the practical aspects of how how to ensure your book finds new readers. 

You can listen to the podcast by clicking ‘play’ below, or in the following places:

You can find Cathey in the following places:

“I learned to not be afraid of risk.” Illustrator, Author, and Art Director Samantha Hahn on Making her Creative Shift

In this podcast interview, I speak to illustrator, author, and art director Samantha Hahn about why — and how — she made a huge creative shift in her career. How, even though she had a thriving career as a full-time illustrator and author, she wanted to expand her work and her creative process.

She shares details about exactly how she redefined her professional identity, got early clients, found collaborators, and infused her daily creative process with energy and inspiration.

You can listen to the podcast by clicking ‘play’ below, or in the following places:

Some of what we cover:

  • Why her creative shift was driven by her desire to collaborate more as an artist. How working by yourself can be isolating. After years of this, her work began to feel rote, and she wanted to feel inspired more.
  • She began to realize how many skills she had and services she offered that were unspoken. She wasn’t just an illustrator for her clients, she was helping to manage projects and make a range of other creative decisions. This happened under the radar and she realized she wanted to stretch those muscles more. She would pigeonhole herself, “Well, all I know how to do is illustration,” but now she understands that having done illustration for magazines, ad agencies, and publishing companies, she realizes the incredible breadth of experience she has gained.
  • How she found inspiration from her parents, both of whom worked in creative fields (illustration and music production), but who “shifted everything” when their industries shifted. They started a clothing company together as entrepreneurs and Samantha got to witness that process. “When they made that switch, it was probably at about the same time that I’m doing it [now]. I learned to not be afraid of risk. If there is something you want to do, figure it out and do it. They both had a very can-do attitude. There was nothing that they didn’t think they couldn’t figure out. They didn’t have a background in entrepreneurship or starting a business, they just figured it out as they went. I learned that hubris from them.”
  • How she figured out the very first place to start in a new career as an art director. She asked a friend for advice who told her “there is no money in it,” but everyone starts with photo shoots for editorial, meaning magazines or websites. Even knowing there was no money, Samantha jumped in head first. “It’s a chance to collaborate with a group of creative people whose work you like.” “That was my first light bulb moment. I can figure out how to do a photo shoot. That’s how I started, by assembling people I wanted to work with, and producing images that were compelling. I learned how to create mood boards through that. There was a lot I had to learn, and I was willing to make a lot of mistakes and fall on my face and just do the best I could and figure out things on the fly and problem solve on the fly.”
  • On seeking a creative field with revenue in mind: “Maybe there are some people who can enter a creative field from a place of security and just dabbling. But for me, it was a do or die thing. If I was going to pursue this, I was going to be something that I do to make money.”
  • “When young illustrators reach out to me, there is this phase where you have to make work to show what you are capable of doing. Because no one is going to hire you without seeing what you are capable of. There is that rough moment where you are like ‘how am I going to get work if I don’t have work,’ and you have to just create as much as you can. I knew there was going to be a building phase of this. I knew that there was going to be a phase where I was in hustling mode, which was intimidating, but also exciting. My goal was to do as much work as I could, do good work, work with good people, and learn as much as I could. And that’s exactly what I did.”
  • She digs into how she got her first clients. She didn’t respond to their job listings for seeking work. Instead, she did this: “I reached out to brands who were starting out, or brands who had a really amazing product that I loved, but I could see how to elevate their presentation. That was my initial point of entry: reaching out to brands whose products I thought was good, and whose products I would be excited to showcase in my own portfolio, or elevate in their own marketing materials, and reach out to them and make a pitch about how to do a photo shoot to them.”
  • She pitched people who she was doing illustration for “It looks like you could use a creative director, I could do that for you.” She reached out to old clients, and then people she had never met before. She describes exactly how she did a cold call to get a client, and how she got them.
  • How she reached out to collaborators early on, and how those relationships have grown: “I have this huge roster now of people’s work who I love, and they are now in my community. When I get hired to do a big project, I can bring them in.”
  • How sometimes, working less than market rate, is the everyday reality for people working in creative fields, and when that is appropriate.
  • When I asked if she has gotten pushback from friends or family on the creative shift, she replied, “I think it’s more me. I have this concern that I’m all over the place, like on Instagram, that its really inconsistent.”
  • How sometimes being authentic on social media means not being consistent in what you share, because our lives are multifaceted.
  • The importance of outreach, and why she prioritizes in-person meetings, and then if that isn’t possible, phone. While social media is a part of her life, creative and professional growth are often focused not via digital means. She relies on meetings, phone, email, and relationships. “When you meet with someone, you are a real person to them.”
  • How she sums up what she has been learning in this process: “If you want to make any career move, whether it is starting out from scratch or making a shift, you are going to have to know that’s it’s not going to happen right away. A mix of humility and hubris is important to have, because you are going to have some failures, you are going to have some rejections, and that is really humbling, because you might think you have the talent, the know-how, you know that you are worth it, you are a hard worker, but nobody else knows that about you. You are going to have to put your time in. That is where the hubris comes in to just do whatever it takes to create work that is going to showcase all of those things that you know about yourself.”
  • And that even after all she has done, she says this: “Even now, I think, there is so much further I need to go.”

You can find Samantha in the following places:

You can listen to my first interview with Samantha from a couple years back here: “Nurture the artist inside you – an interview with Samantha Hahn.”

And here are some of her books:

Thanks!
-Dan