JANUARY

I began three months of book coaching work with communication expert Jefferson Fisher on what would become The Next Conversation. It’s on presale and releases March 18, 2025. I don’t think you’ll be able to escape it when it’s published.

At the end of the month, a notable literary agent reached out about assisting two clients with their respective proposals. This is when the what-ifs began echoing in my mind every night. What if I could return to independent editing and writing? What if, knowing what I know now, it will go better this time?

I previously freelanced from 2014–2019. The income was steady, thankfully, but it was just enough to get by, and it never substantially increased year over year. Now, with inflation and increasing expenses as our son gets older, I knew I’d have to be as certain as possible about our finances before making such a significant job change.

FEBRUARY

I worked at my full-time job while also assisting two author clients. I felt like I was working 24/7. God bless my coworkers and those two authors for putting up with me at less than 100 percent. At this point, no one aside from my wife knew that I was daily wrestling with whether I should make the jump back to freelancing.

Because I didn’t want to put our family in financial jeopardy, I waited to part ways with my company until another project came in. At no point during these months did I actively pursue projects. They found me. I saw providence in that.

MARCH

Early this month, a friend in the field referred me to a client who needed a ghostwritten memoir. Is this the project I’ve been waiting for? I quickly signed on. The process was easier than similar projects I’ve worked on as the author provided transcripts and other pre-written material. Three months later, I turned in the 40,000-word memoir, and it was self-published shortly thereafter.

I’m grateful that Amazon’s AI-generated “Customers say” description calls it “an easy read.” I’d been reading and listening to Shoe Dog by Phil Knight, which was actually written by J. R. Moehringer. His style heavily influenced what I did for that memoir.

With this project and the others I already had going, I notified my company that I was leaving. They were all too kind and gracious and understanding. They understood. They wished me and my family well. (To my former coworkers, thank you for the indelible mark you left on me. The worst part of leaving was leaving your camaraderie.)

APRIL

I knew things had gotten real when I spoke to an insurance agent about getting a new health policy for my family. We were going back into the world of giving a third of my income to the government and ensuring we could cover our health costs. (There are benefits to benefits!)

Then I began letting former clients and current connections know that I was open for business—again. Previously, I’d been known more for copyediting. However, I was now more focused on nonfiction ghostwriting, book proposal creation and development, book coaching, and developmental editing.

But that didn’t stop Chase Replogle, a former client, from reaching out to ask me to copyedit his excellent book, A Sharp Compassion: 7 Hard Words to Heal Our Insecurities and Free Us from Offense. Since I like Chase and enjoy his intelligent, insightful writing, I said yes.

At the outset of returning to full-time freelance work, I also paid for a LinkedIn Premium account, thinking that it would help with my marketing. How has that panned out? While I’ll remain active on LinkedIn, I won’t be renewing the premium account.

Of the ten calls and meetings I had with interested parties in my first official month of freelancing, only Chase’s resulted in work. I had to remind myself about the inevitable peaks and valleys of freelancing, the inherent uncertainty of this kind of work.

It’ll get better, right?

MAY

I began earnest work on the two agented book proposals previously mentioned. One was about mental health; the other dealt with mental health and eating. Each proposal required extended chapter summaries, and the authors and I worked hard all summer to create compelling proposals.

• One proposal sold in September for seven figures.
• The other proposal sold in a non-US market, and we have hopes for a sale in the US once the author becomes more well-known stateside (as the author should be!)

I was honored to work with both of these clients.

I also had the glad experience to develop memoirs about a nonprofit ministry in South Sudan and a Christian hybrid memoir about recovering from a chaotic childhood.

Our family also took an overdue vacation to Disneyland and Carlsbad, CA. My wife and son love Disney; I love Star Wars. We make it work. Then I demanded was allowed to golf at Torrey Pines and Goat Hill Ranch. It was a much-needed break for all of us.

JUNE & JULY

These months rushed by. The proposals—and the constant search for the next gig—kept me busy.

AUGUST

Late in the month, a new client asked me to developmentally edit his well-researched book. We finished the heavy lift in early December. The publish date hasn’t been set. When the date’s been set, I’ll tell you about it in this newsletter. It’s a fascinating book about a controversial figure.

SEPTEMBER

This month witnessed the release of another client’s book, Your Grass Is Greener by Jason Silver. Jason and I had begun developing his book in September of 2023, so to see his book published a year later—on his goal date—was inspiring. Jason hybrid published via IdeaPress and has effectively crushed everything about the writing, publishing, and release of his book. If you’d like to know about our “healthy disagreement,” read “How to write what people want to read.”

OCTOBER

I was a guest speaker and panelist at DFWCon. I spoke about crafting compelling nonfiction book proposals. Breathlessly, I barely finished getting through my slides. I enjoyed the panels more for hearing from the other panelists. But the best moment was when an agent tracked me down just to connect. We’ve since had a virtual meeting and hope to work together next year. Pro tip: Get face time with the people you want to work with.

​My interview on the Hungry Authors Podcast also released. I spoke about what I learned while working with James Clear on Atomic Habits, what it was like working with Jefferson Fisher on The Next Conversation, and offered a few takeaways for nonfiction authors.

A new project rolled in that was a complementary piece to an earlier project. I was grateful that I knew the material well, but the project still stretched me. However, I gained confidence in a different kind of writing that allows me to offer a new service to future authors. (I know that’s vague, but an NDA prohibits me from sharing details.)

NOVEMBER

A different interview about my work with James Clear and Jefferson Fisher went live on the Hembury Books Podcast. I was also a ghostwriter panelist for a private group of editors. Again, I benefitted more from what the other panelists shared.

My former client’s self-published book, Feeding the Mouth that Bites You, was re-released as a second edition after a publisher bought the rights. That book is one of my favorite client success stories.

DECEMBER

Which brings us to now.

I started work on a client’s manuscript that’s due in May. Today, I’m waiting on word about three projects that may begin in the new year. I’m excited about the work before me, the clients I’ve yet to meet, and the repeat clients who may be creating new work next year.

In other words, it’s working and I’m grateful.

P.S. If you’re into stats:

• Of my 32 legitimate leads since I began tracking them in May, 25 percent became clients and 22 percent are still warm leads that could lead to work in 2025.
• 44 percent of my leads came from professional referrals, i.e., fellow publishing pros, editing orgs, or former clients.
• 34 percent of my work came from developmental editing, followed by 19 percent ghostwriting. Next year, I aim to have ghostwriting as my primary income stream.

If this email sparked questions, please leave a comment.

And if you likewise have a year in review, I’d be interested to read it.

The post A year of significant professional change: My 2024 year in review appeared first on Blake Atwood.

In the Business Book ROI Study, four author service organizations interviewed “a diverse collection of 350 authors and prospective authors, of which 301 had published a nonfiction book.”

As a nonfiction ghostwriter, these three discoveries stood out to me: 

“The median ghostwritten book was four times as profitable as other books [in the study].”

Ghostwritten books published for at least six months earned a median income of $92,500.

Note: That’s not book sales. That’s additional revenue from having a book—the speaking gigs, the consultancies, the classes and workshops, etc. In other words, having a well-crafted ghostwritten book with your name on the cover could generate a median revenue increase for you of $92,500. 

The other two major drivers of increased revenue were: 

• hiring a book launch PR company 
• having a strong revenue strategy before the book releases

Hiring a nonfiction ghostwriter ensures that your book does more than just sit in a warehouse. Done well by a professional, a ghostwritten book is a business-generating calling card that can reach millions for years.

“Authors were mostly satisfied with the services they paid for, including 96% of those who used ghostwriters.”

In this survey, 25 authors reported paying for a ghostwriter, spending between $10,000 to $50,000+. (Ghostwriting costs can far exceed that, as this helpful “Ghostwriting fee spectrum” by Laura Schaefer makes clear.)

As a nonfiction ghostwriter, I was glad to see the high favorability rating. But I would have been keen to know where these authors found their respective ghostwriters, whether through referrals, ghostwriting organizations, or another avenue.

“Ghostwritten books generated a median gross profit of more than $43,500 after 6 months, despite the cost of the ghostwriter.”

As the previous point made clear, ghostwriting can be quite an expense. But the expense is worth it. When the book is written well, you launch well, and you have a clear revenue strategy, there’s little reason why your nonfiction book shouldn’t turn a profit.

Ultimately, these discoveries point to a central truth, which one author who took part in the survey neatly summarized: 

“Authors don’t make money on book sales. They make money on what the book makes possible.”

Did any of these findings surprise you?

What else would you like to know about ghostwriting nonfiction?

***

Thank you to Amplify Publishing Group, Gotham Ghostwriters, Smith Publicity, Thought Leadership Leverage, Josh Bernoff, Bill Sherman, and Dr. AJ Marsden for conducting, compiling, and publishing this survey.  

The post 3 Ghostwriting Insights from the Business Book ROI Study appeared first on Blake Atwood.

Rightfully, most people want to know what it was like to work with James Clear on Atomic Habits.

In the latest episode of the Hembury Books Podcast, I spoke with host Jessica Mudditt about what I learned from Clear during that time. I also read an email from James Clear that still influences how I tend to structure the nonfiction books I work on.

We cover a lot of ground in a decently short amount of time. My favorite part? Discussing whether authors, even the well-known ones, still suffer from “the wobbles.”

(Mudditt is based in Australia, and I told her that I’m going to incorporate “the wobbles” into my vocabulary. It’s so much better than sheer terror or deep insecurity.)

If you’re interested in hearing more from James as filtered through my memory—plus a little about my work with Jefferson Fisher—please subscribe to the Hembury Books Podcast. You can listen to my episode here or watch it here.

***

Although I consistently (and gratefully) receive editing and writing inquiries because of my association with Atomic Habits, my favorite client story began in 2015 and finds its resolution today.

Today’s the release date for Feeding the Mouth That Bites You: Parenting Teenagers into Adulthood by Dr. Ken Wilgus.

Actually, today is the book’s second release date.

Dr. Wilgus achieved what so many authors want to believe can happen: his self-published book sold so well and helped so many people that a publisher took notice and acquired his book. They’ve updated and revised it for a new second edition.

As of this writing, the first edition holds a five-star rating with 499 reviews. This is the version I had the pleasure of helping with, but (as with Atomic Habits), I can truly only take a small credit.

Dr. Wilgus is a well-read, well-educated counselor, but Feeding the Mouth was his first book for a popular audience. When he contacted me, he knew he needed help to escape academese so that he could reach a broad audience.

I read his first draft. It was as dry as a Texas summer. The strategies were insightful and applicable, but they were buried beneath words that were too long and too obtuse. I said as much. He essentially said, “I know. That’s where I need help.”

We began working together. He sent me a video of a recent talk he’d given covering the same material from his book. Much to my delight, I discovered that this professional academic was funny. Like, made-me-audibly-laugh-multiple-times funny. Coincidentally, his funny was a dry funny. He’d speak a word of serious wisdom and then sometimes undercut himself in an aside to the audience. It was fantastic and engaging and precisely what his book needed.

Even though we weren’t in the same room when he realized how he could translate that to his manuscript, I saw the lightbulb go off over his head. I believe that moment truly unlocked his voice and his potential as an author for a broad audience.

The book quickly came together after that. He self-published. He launched the Feeding the Mouth That Bites You Podcast. Because he was providing such expert insight and practical help, his audience grew.

For the nonfiction authors reading this who may want to self-publish in the hopes of a publisher discovering and acquiring your book, take note.

Dr. Wilgus kept growing his audience. No, I don’t believe that was ever his goal. Rather, because he kept showing up and providing practical, helpful advice, his audience grew as a result. He met their felt needs, both within the book and regularly through his podcast. I also imagine that the podcast led to connecting with the right people who would ultimately acquire his book.

When a publisher saw how the book had been performing, how Dr. Wilgus had kept engaging his audience, and how unique his positioning was on this topic, the acquisition must have seemed like a no-brainer. Dr. Wilgus had done the work to make it an easy yes.

If you’re raising a teenager or preparing to do so, I can’t recommend Feeding the Mouth That Bites You highly enough.

And I’m so glad that this book, which is nearing its own teenage years, found its voice a long time ago.

The post My favorite client success story: Feeding the Mouth That Bites You by Dr. Ken Wilgus appeared first on Blake Atwood.

Thank you, Liz Morrow and Ariel Curry, for inviting me onto the show. They are both the hosts of the Hungry Authors Podcast and the authors of the book by the same name. Every nonfiction author should buy Hungry Authors and subscribe to their podcast.

Throughout their book, they use Atomic Habits as an example because “it so perfectly exemplifies many of the lessons we teach.” Consequently—until they can get James on the show—they settled for a background player in the development of a book that continues to defy expectations.¹

This is the first time I’ve spoken at length about my work with James Clear. Knowing that Atomic Habits would be our foundation for this episode, I read through old emails and unearthed some true writing and publishing wisdom that he shared with me back then.

If you read or write prescriptive nonfiction, I’m sure you’ll benefit from our conversation.

The post What James Clear Taught Me about Writing a Best-selling Book appeared first on Blake Atwood.

Even when you like your job, Tuesdays like today can feel like the longest of Mondays. 

But when you’re just going through the motions . . . 

Or even hate your job and dream about what could be if . . . ?

Then a new book by one of my clients may be just what you need.

Your Grass Is Greener by Jason Silver releases today.

As of this writing, it’s also 99¢ on Kindle.

If the title didn’t already reveal his hand, Jason’s central argument is that “you don’t need a new job to get your dream job. You already have it.” 

He then provides an operating manual for doing better work where you are, including practical guidance on issues like miscommunication, slow decision-making, and advancing your career. He also shows how a better work life will positively affect the rest of your life. But this isn’t just a checklist to accomplish more. 

Jason offers stories from his life, including the heartbreaking story that motivated him to write the book. He pulls the curtain back on how changing his life through these practical suggestions led to breakthroughs in both his personal and professional lives.

And, as Kirkus Reviews wrote (and which makes me beam like a proud book dad),

Silver’s prose is clear and inviting, and his essential optimism runs through the book like a bright thread.

I can’t take credit for the optimism; Jason has that in spades. But in our many months of working together to shape his manuscript, Jason leaned into learning as much as he could about how to craft a compelling book. 

He’s thoroughly succeeded.

I’d argue that anyone can benefit from Jason’s book. I’ve used his strategies many times since having worked on the book—including using one of the strategies on the book itself as we crafted it. In other words, we can all benefit from realizing that Your Grass Is Greener.

P.S. Don’t miss out on his bonus materials.

P.P.S. If you expected writing help in this post, Jason shared one of my secret tactics in his excellent newsletter.

The post When You Dread Going Back to Work, This Book May Be Your Antidote appeared first on Blake Atwood.

But you may not realize the full truth behind that process or what it takes for a nonfiction author to succeed in landing a traditional publishing deal.

So let’s discuss everything you need to know about seeking a traditional publishing deal for a nonfiction book.

Contents

• What is traditional publishing?
• What role do literary agents play in traditional publishing?
• How much does traditional publishing cost an author?
• What is an advance? What are royalties?
• How long does traditional publishing take?
• What are the drawbacks of traditional publishing?
• What are the benefits of traditional publishing?
• Should I pursue traditional publishing?

What is traditional publishing?

According to Writer’s Digest, “Traditional book publishing is when a publisher offers the author a contract and, in turn, prints, publishes, and sells your book through booksellers and other retailers. The publisher essentially buys the right to publish your book and pays you royalties from the sales.”

The “Big Five” publishing houses are:¹ 

1. Penguin Random House
2. Hachette Book Group
3. HarperCollins
4. Macmillan Publishers
5. Simon & Schuster

Each publisher has multiple imprints, e.g., Avery is an imprint of Penguin Random House that focuses on prescriptive nonfiction. 

An estimated 688 imprints exist across all of the Big Five Publishers.²

• Penguin Random House has more than 300 imprints and publishes 85,000 titles per year.
• Hachette has over 200 imprints and publishes an average of 15,000 titles per year.
• HarperCollins has more than 120 imprints and publishes 10,000 titles per year.
• Macmillan Publishers has at least 39 imprints.
• Simon & Schuster has at least 29 imprints and publishes 2,000 titles per year.

When a book is “traditionally published,” it is published by an imprint from one of these five major publishers or by a smaller publishing company.

Don’t dismiss the effectiveness of being published by a smaller publisher. As small press publisher Brooke Warner writes, “For the average aspiring author, the more realistic prospect is to present yourself as a good bet to a small or indie press, to expect a modest advance, and to make your case directly to an editor.” In many instances, smaller presses don’t require the need for an agent as many will accept unsolicited manuscripts. For more on submitting directly to a smaller press or indie press, read the rest of Warner’s article.

However, many authors see traditional publishing with a Big Five publisher as their white whale, the singular goal of their greatest ambition. So the question then is: How does an author get a traditional publisher to consider publishing their book? 

Enter the lit agent.

What role do literary agents play in traditional publishing?

An author needs a literary agent to pitch their book to traditional publishers. Agents are the gatekeepers to traditional publishing deals. For a complete guide on this process, for both nonfiction and fiction authors, see Jane Friedman’s How to Find a Literary Agent. 

More often than not, agents don’t want to sign on books; they want to sign on clients. In other words, you may have more success in landing an agent if you have ideas for multiple books.

One benefit to submitting nonfiction to a literary agent is that you do not need to have written your full book prior to submission. Rather, you’ll send a book proposal. However, writing a book proposal can be a daunting task. (If you may need help in crafting or revising a nonfiction book proposal, please contact me.)

If you’re keen to begin writing your proposal, see “How to Write a Book Proposal + Book Proposal Template.” I also recommend Michael Larsen’s book How to Write a Book Proposal: The Insider’s Step-by-Step Guide to Proposals that Get You Published. However, be sure to discover your agents’ preferences for what material they’d like to see when you pitch your book.

How much does traditional publishing cost an author?

An author pays nothing out of pocket to be traditionally published. 

While the author may sometimes spend money at their own discretion on editing or marketing, a traditional publisher assumes all the risk of the book. While not all instances are similar, a traditional publisher typically takes care of the editing, production, and release of the book.

What is an advance? What are royalties?

If an agent successfully sells a book to a publisher, the publisher will offer the author an advance on royalties. The advance is an upfront payment to the author—essentially a bet by the publisher on how well the book may sell.

A low advance ($5,000 to $20,000) means the publisher is willing to take a chance on releasing the book but may have low expectations for its performance for any number of reasons. A high advance ($500,000 to over $1 million) means that the publisher has high expectations for high sales.

Let’s say that a publisher offers a new author an advance of $100,000. That advance money is against royalties, meaning that the publisher must recoup their $100,000 investment in the book before the author begins to earn money from book sales. Also, don’t forget that a literary agent earns their money based on commission, which is typically 15 percent of the advance and 15 percent from royalties.

Advances are not paid all at once. They are typically doled out over time (e.g., yearly) or as deadlines and deliverables are met (e.g., signing the contract, submitting the manuscript, publishing day). 

How long does traditional publishing take?

Long.

From the time an author lands a literary agent to the time the author’s physical book is available in bookstores, the best-case scenario is typically eighteen months. 

Many reasons for this comparatively slow process exist:

• The seasons of publishing: new books are often revealed in one season (e.g., the fall) and released the next (e.g., the spring). Sometimes a book effectively has to wait its turn so as not to be overwhelmed by others releasing in the same season.
• Slow summers: The wheels of traditional publishing slow down in the summer. 
• The pursuit of excellence: Literary agents often want to spend significant time honing a manuscript or book proposal before submitting it to publishers so they can seek its highest advance.
• Book creation: Once a trad publisher has purchased a book, the physical creation of the book (or ebook or audiobook) requires significant time. Remember that the Big Five create and release hundreds of titles per year.

What are the drawbacks of traditional publishing? 

Time to publish

For many, the length of time traditional publishing requires is its greatest drawback. With self-publishing processes available that allow anyone to publish a book as soon as the writing is finished, it’s difficult for some authors to wait eighteen months or longer to see their book exist in the world.

Control

An author may not want to relinquish any control of their book. When an author pursues traditional publishing, they need to know that many people will be speaking into all aspects of their book.

Pay

An author may not want to work on the advance payment model or give 15 percent of earnings to an agent.

What are the benefits of traditional publishing?

Distribution

By far, traditional publishers (especially the Big Five) have the means and connections to get an author’s book into the most bookstores, both physical and digital. Distribution channels will vary based on the publisher, but if an author wants their book to be available in bookstores, traditional publishing is the path to choose. An author may make less per book but stands to sell more books due to greater availability in the market.

Additionally, the well-known best-seller lists are most often comprised of traditionally published books. For example, the New York Times bestseller list uses sales of print copies from bookstores as one of its metrics. If an author’s book is not available in a majority of bookstores across the country, its chance to make the NYT bestseller list is negligible.

Expertise

Literary agents, acquisitions editors, and the other dozens of types of publishing professionals have expertise that authors don’t. Especially for those who have decades of experience, they know from trial and error what works and what doesn’t. While an author may be giving up some control of their book, they should rest assurred that their book is receiving expert help at every step of the publishing process.

Credibility

While a majority of readers don’t know the name of the publisher of their favorite books, there’s arguably still cachet in being able to tout yourself as an author with Penguin Random House, for example. Plus, the increased exposure of an author’s book in hundreds of bookstores increases that author’s name and brand recognition.

Should I pursue traditional publishing?

Since I work with nonfiction authors, my advice is geared toward them. If you write fiction, see Jane Friedman’s “How to Get Your Book Published.”

The single most daunting hurdle for nonfiction authors seeking traditional publishing is lack of a platform. 

As Brooke Warner, publisher at She Writes Press, states: “In my experience, most writers aren’t realistic or ready to confront how very real a barrier lack of author platform is when it comes to getting traditionally published. The publishing industry sets a high bar when it comes to expectations on this front. They want you to have lots of followers, to be actively engaged on various social sites, to have previously published work (either books that show sales or online essays or stories that are published on prestigious or well-read sites). Other things that might tip the balance when it comes to platform: a popular newsletter or blog; podcast; a popular YouTube channel; a post or story you’ve written that’s gone viral.”

There is no magic number for platform. Some say 10,000. Others 20,000. But the source of the audience matters. Ten thousand followers on a social media platform are not the same as 10,000 email subscribers; your email list is ostensibly more engaged with your content than your social media followers.

Secondary matters that can lead to not receiving a traditional publishing deal include:

• poor writing
• submitting a book on which you’re not a noted expert
• trite memoirs
• inflexibility as an author

In other words, you should pursue traditional publishing for a nonfiction book if you have:

1. a substantial and growing platform of engaged followers
2. proven writing ability (or the income to hire a writer)
3. expertise about the topic on which you’re writing
4. patience
5. flexibility

If all five of these characteristics describe you, then traditional publishing through the help of a literary agent may be a viable publishing path for you.

P.S. In due time, I will write about the other publishing options available to nonfiction authors, including hybrid publishing and self-publishing. In the meantime, I once again recommend Jane Friedman and her insightful, in-depth, consistently updated article on The Key Book Publishing Paths.

The post The Pros and Cons of Traditional Publishing: A Comprehensive Guide for Aspiring Nonfiction Authors appeared first on Blake Atwood.