Book Blurbs: Crafting the Blurb

While the hook is critical to a great blurb, the body of the blurb deserves equal attention. Consider it’s effectiveness as a whole as well as it’s individual parts.

Word Choice Matters

Choosing the right words can make all the different in a blurb. Be certain to make sure your word choice communicates the tone of the story by using words that fit the genre and situation. A dark thriller will use more intense wording while a rom-com will use light, fun words.

Word choice should also match the time period and regional setting. If you’re writing historical fiction that should be apparent within a few sentences through carefully selected words and phrases. Maintain regional accuracy without overloading the blurb with slang or colloquialisms.

It’s also all right to use hyperbole when appropriate, such as “unimaginable” for a shocking crime or “intoxicating” for a sudden and passionate romance, but don’t overdo it. Stuffing the blurb with hyperbole will exhaust the reader.

Avoid clichés, superfluous words, description, unnecessary adverbs, and “chatter” as much as possible. The blurb should be too the point and directly communicate the basics of the story to the reader.

Be Concise

Blurbs should run 100-150 words in most cases. Blurbs placed on the back cover of a book may be longer depending on space available during formatting. Blurbs for online retailers should be on the shorter end of the range since people browsing often skim.

Don’t try to tell the reader everything you think might interest them in a blurb. Stick to the important highlights and leave backstory, secondary characters, subplots, and similar information to be discovered when reading the full book.

It may be helpful to start writing a blurb with bullet points to sift out what should and shouldn’t be mentioned. Expand on the bullet points with 1-2 sentences about each point.

Utilizing Cliffhangers

This isn’t a must in a hook, but for many stories a cliffhanger ending in a blurb will be a good nudge for readers toward purchasing.

Cliffhangers can also help you avoid giving away too much in a blurb. Cliffhangers focus on the main conflict the characters face but only hint at a possible resolution. It’s important to present the problem and leave readers wondering how the character will overcome it.

The answer to how the story will resolve shouldn’t be too obvious.

Even with books that are more formulaic, it’s important to make the reader curious about how this particular story will unfold. While most romances end in a happily-ever-after scenario, they don’t (or shouldn’t) all reach it the same way. Hint at the uniqueness and leave it at that.

Formatting the Blurb

Once you’ve finished crafting the blurb, the work isn’t quite done. It’s important to format blurbs according to genre conventions. Each main genre has it’s own nuances when it comes to formatting. Fore example:

Contemporary romance tends to use short, 1-2 sentence paragraphs that highlight main points of the storyline.

Historical romance tends to use longer paragraphs with a more in-depth summary of each point of interest.

Study blurbs on Amazon in your genre to make sure you’re formatting correctly. Of course, sometimes you need to break out of conventions to highlight a unique aspect of your story, but make sure there’s a reason for using a unique format and that it conveys the tone or action of the story.

Effective blurbs intrigue readers. Highlight the most interesting aspects of the book that will hook readers and make the need to find out more great enough to click the buy button.

Book Blurbs: Formulas and Pitches

I’m generally a big fan of carving your own path and ditching conventions that don’t work for you, but when it comes to blurbs, that may make you lose your mind. Blurbs are so challenging for most writers there’s no point reinventing the wheel and doubling the work. Start with what is time tested and reliable, then adjust and adapt to make it suit your work.

A Formula That Works

Below is a general formula that will get you started with writing a well-structured blurb. Once you have the basic elements, change it up in whatever way best portrays your novel and compels a reader’s interest.

The first 1-2 sentences should state the purpose or central theme of the story or character journey. These few words should also briefly introduce the characters and initial situation. It is critical that the reader finds the characters interesting and likable, or they will not want to spend hours with them reading the book. Lastly, the first few lines should introduce the main problem or source of conflict.

The first paragraph should indicate the twist without giving too much away. Don’t spoil the ending in the blurb or give away important details that will take away from the story’s suspense when reading. Limit yourself to establishing the stakes of failure or of the relationship not working out.

The last paragraph should wrap up the story introduction and entice readers to find out more. The desire to know more relies heavily on a connection with the characters. If the reader doesn’t care about the character, he or she will not care about what happens to the character, either. End the blurb with a question or with a sentence that sets the overall mood of the story. Again, do NOT give away the ending!

A blurb is not a synopsis. It’s a tease meant to make the reader need to buy the book in order to know how the characters’ story will end.

Crafting a Sales Pitch

Convincing the reader they need to know the ending starts with developing a connect between the story and/or characters and the reader, but it’s also important to realize the blurb is a sales pitch and needs to be written like one.

The first sentence must grab the reader’s attention. Readers have very short attention spans and tend to skim when browsing online. You have minimal time to hook them and make them ask what will happen next?

Think of this first sentence (two at the most) as an elevator pitch. It should capture the most interesting part of the story. That may be the conflict, mystery, romance, etc. When writing this sentence, consider what element of the story will have the biggest draw for readers and focus on that aspect.

Whatever will most make readers want to check out your book, mention it in the first line. This first sentence often sits by itself on retailer sites before the bulk of the blurb, giving it a better chance to catch the reader’s attention.

The preview on most ebook retailer sites barely gives you more than a sentence or two before readers have to click “read more,” so make that first sentence count!

Even though blurbs are sales pitches, don’t make promises the book can’t keep. Punching up certain elements to make a story seem more appealing will backfire when disappointed readers leave negative reviews.

Book Blurbs: What and Why?

Condensing a full story into a few paragraphs takes concise wording, understanding the purpose of the story, and developing a great hook. This blog series will dive into defining and book summary/blurb and the techniques of effective book blurb writing.

What is a blurb?

A book summary, or blurb, is a short description of a book used for promotional purposes, including the book description listed on retailer websites and the book’s back cover. The term blurb is often used in place of book summary, and I’ll use it throughout this series because it’s a common term and easier to type.

Blurbs give the reader a brief idea of the book’s content. They are NOT a full synopsis of the book and should not contain any spoilers of major plot points, including the resolution. Blurbs are NOT a summary of the first chapter, which is an all too common trap authors fall into when writing blurbs. Focus on the bigger picture.

A blurb highlights the genre/subgenre, purpose, situation, conflict, and characters of the story. It should give the reader a clear idea of what kind of book they are looking at and set expectations for what the book will deliver.

A blurbs style and formatting varies slightly depending on genre, and can change over time depending on industry trends. It’s important to occasionally review and adjust blurbs to fit current reader interests and expectations.

Blurb Writing Challenges

It’s always a challenge to boil down an entire story into a few hundred words. You’ve put endless hours into writing and editing a story, only to be asked to summarize it in a few sentences. The task often seems impossible, but there are ways to survive such torture.

Most writers hate this part of publishing. After developing so many details and intricacies to craft a well-written story, it’s a incredibly difficult to take all of those nuances and wonderful subplots back out of the story and convince readers to buy a book on only the highlights.

Boiling a full story down to a few paragraphs requires concise word choice, pinpointing the purpose of the story, and developing a great hook.

How to Write a Blurb

Traditionally, blurbs are written in third person present tense. This may feel odd at first, since few books are written this way, but it is one of those longstanding industry standards that remains despite so many other changes in publishing.

One of the few exceptions to this is contemporary, modern romance. For reasons that I’m not sure anyone really knows fully, contemporary romance blurbs are commonly (though not always) written in first person present tense. The most likely reason for this shift has to do with the recent popularity of writing in first person in popular fiction and the fact that many contemporary romance writers are independently published and have control over how their books are listed and portrayed on retailer sites.

Do you have to write your blurb in a particular tense or style? Not really. Consider what style matches the novel’s style and what format, tense, or styles will prepare readers for that point of view. It’s a good idea to study the top 100 blurbs in a genre or subgenre to decide which is best for a particular novel.

The Purpose of a Blurb

When considering how to craft your blurb, think about the book’s purpose. Readers want to know the main point or purpose of the book when reading a blurb. They want to know if a particular book is what they’re looking for and if it will fulfill their expectations.

When writing the blurb, focus on the main point or purpose of the story, first and foremost, the consider what need the book will fulfill for the reader. Readers often search for new books with search terms that describe what they are in the mood to read right in that moment. A blurb should tell a prospective reader if a book truly fits that need, such as escapism, sweet romance, excitement, suspense, etc.

Make the purpose of the book clear early in the blurb. This should be contained in the first one to two sentences. It should also be accurate and not misleading. Readers get very upset when they spend money on a book only to realize it was inaccurately portrayed.

An example of a clear and accurate blurb opener, consider White Rose, Black Forest by Eoin Dempsey: “In the shadows of World War II, trust becomes the greatest risk of all for two strangers.” The riskiness of trust during war times is the clear purpose of this story and is pointed out in the first line of this blurb.

Although condensing a story down to a few paragraphs is never easy, understanding what a blurb is and why you are writing one will help you craft a purpose-driven blurb that will entice readers.

Tips for writing a great hook

Writing a great hook takes headaches, crying, and endless rewrites.

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Below are a few things to keep in mind while crafting a stand-out hook

A great hook catches readers’ attention

• Write something that startles the reader: “Shaye Archer’s life effectively began the night police found her in an alley, beaten and abused and with no memory of the previous fifteen years, not even her name.” Malevolent by Jana DeLeon
• Open with the inciting incident: “When Willow is born with severe osteogenesis imperfecta, her parents are devastated—she will suffer hundreds of broken bones as she grows, a lifetime of pain.” Handle with Care by Jodi Picoult
• Create intrigue: “Inspired by a terrifying true story from the author’s hometown, a heart-pounding novel of suspense about a small Minnesota community where nothing is as quiet—or as safe—as it seems.” Unspeakable Things by Jeffrey Eugenides

A great hook catches readers’ attention

• Introduce something ominous: “A bloodthirsty sheriff is terrorizing a small Texas town where justice has been buried with his victims.” In the Heart of the Fire by Dean Koontz
• Make the characters sympathetic and relatable: “What happens when the most beautiful girl in the world marries the handsomest prince of all time and he turns out to be…well…a lot less than the man of her dreams?” The Princess Bride by William Goldman
• Capture the reader’s heart “Every so often a love story so captures our hearts that it becomes more than a story—it becomes an experience to remember forever.” The Notebook by Nicholas Sparks

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Writing a blurb that catches reader’s attention

It’s always a challenge to boil down and entire story into a few hundred words when writing a blurb. Most writers hate this part of publishing. We took all this time developing details and intricacies and now we have to take all of that back out and convince someone to buy it in two paragraphs or less.

How do you do that well?

Here’s a few things I’ve learned over the years.

A blurb is a sales pitch

The first sentence must grab the reader’s attention. Think of this sentence as an elevator pitch. It should capture the most interesting part of the story. That may be the conflict, mystery, romance, etc. Whatever it is that will most make readers want to check out your book, mention it in the first line.

This first sentence often sits by itself before the bulk of the blurb, giving it a better chance to catch the reader’s attention. The preview on most ebook retailers barely gives you more than a sentence or two before readers have to click “read more,” so make that first sentence count.

Format the blurb according to genre conventions

Contemporary romance tends to use short, 1-2 sentence paragraphs that highlight main points of the storyline. Historical romance tends to use longer paragraph with a more in-depth summary of each point of interest. Study blurbs on Amazon in your genre to make sure you’re formatting correctly.

Of course, sometimes you need to break out of conventions and do your own thing. Just make sure there’s a reason for using a unique format and that it conveys the tone or action of your story.

Start with a formula that works

First, introduce the situation, then tell readers about the main problem or source of conflict, and indicate the twist without giving too much away. Effective blurbs often end with a question or with a sentence that sets the overall mood of the story.

Don’t give away the ending. This isn’t a synopsis. It’s a tease.

Leave the side characters out of it

Introduce the main characters and leave the side characters for the reader to discover once they start reading. It’s important to get readers interested in the characters right away. Give their name, a few important traits that make them unique or interesting, what their situation is, and what dilemma or conflict they’re going to face.

Don’t try to introduce side characters in the blurb. It only clutters the pitch and may make readers lose interest.

Use a cliffhanger

This isn’t a must, but for many stories a cliffhanger ending in a blurb will be a good nudge toward purchasing. Avoid giving away too much in a blurb. Present the problem and leave readers wondering how the character will overcome it.

This answer shouldn’t be too obvious, though. Even with books that are more formulaic, it’s important to make the reader curious about how this particular story will unfold. Most romances end in a happily-ever-after scenario, but they don’t all reach it the same way.

Choose your words carefully

Communicate the tone of the story with words that fit the genre and situation. A dark thriller will use more intense wording while a rom-com will use light, fun words. Word choice should also match the time period and regional setting. It’s also all right to use hyperbole when appropriate, such as “unimaginable” for a shocking crime or “intoxicating” for a sudden and passionate romance, but don’t overdo it.

Keep it short and to the point

Blurbs should run 100-150 words in most cases. Don’t try to tell the reader everything you think might interest them. Stick to the important highlights.

It may be helpful to start writing a blurb with bullet points to sift out what should and shouldn’t be mentioned.

There’s no one correct way to right a blurb that will help sell a book, but starting with proven tactics and expanding from there can help you craft an enticing blurb.

Getting to the editor

Working as the editorial assistant for a newspaper has given me some insights about getting past the general email account and to the editor’s virtual desk.

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I work for a small, local paper, but we still get a crazy amount of submissions and requests for op-eds and guest columnists. It was pretty overwhelming at first to learn how to filter these. The editor gave me the basics my first day and spent a couple weeks answering my questions about what was important and who was interested in what. I think I’ve gotten the hang of it pretty well now, and it’s taught me a few things that can be applied to both submitting fiction and articles.

Dear Editor

This isn’t a new realization, because this is the first thing I learned when I started querying fiction, but being on the other side of the query has impressed the importance of this piece of advice.

Figure out who you’re sending your query to!

Addressing an email to Dear Editor, the name of the paper/agency, hello everyone, or no salutation at all is a waving red flag to click the trash button.

Why?

For one, it shows the sender didn’t bother to do two minutes of homework to find out who they should be sending their query to. Second, it’s a clear indication that the sender used the BCC to hide that it’s a mass email to every publication they could find contact information for. Laziness, on both accounts. These types of emails are the first ones I weed out in the morning.

Why would I care about this?

Then next thing I look for when culling emails is relevance. As I said, I work at a small, local paper. Aside from AP wire stories, we only cover local issues and events. The first thing I check on media releases and PSAs is the dateline. If it’s out of our coverage area…trash.

The next thing I look for is whether or not it’s relevant content. For the newspaper I work for, this means it not only has to be a local issue, but it has to fit into one of our sections. We don’t have a technology section, or an aging gracefully section, or a rap music section. I still get emails about random topics or locations we don’t cover every day.

This applies to fiction publishers as well. If the agency or publisher doesn’t work with your genre, don’t waste your time querying them. It’s annoying and wastes their time, too. Your query is not going to make a publisher suddenly decide to take on a new genre any more than it will make a newspaper add a whole new section their readers aren’t interested in. Do your homework.

The lonely link

I am not clicking on random links. I’m just not. If some sends me a link or list of links saying So and So Author has a new article available, I am not clicking on it. To the trash it goes. Same goes for attachments with no description or information.

Let me tell you how to do your job…

There is a difference between doing your research and providing all the pertinent information (section, date, topic, etc.) and attempting to tell someone how to do their job. Emails demanding I place a certain PSA in a particular section on a particular day when neither matches up with our publishing schedule and section requirements is a quick way to irritate whoever is reading your email.

Are you starting to see a pattern here? Do your research! And be polite. Demands rarely go over well with anyone, and certainly not publishers and papers who receive dozens, if not hundreds, of submissions a day and have rules and requirements for every inch of the paper.

Be direct

Unless submission requirements specifically direct you to use the general account, send you query directly to whoever should actually be reading it. Newspapers, agencies, and publishing houses have specific people who deal with specific topics or genres. It takes more effort for me to figure out who should be looking at something, and it’s much more likely to get deleted.

If there’s a list of who handles what, and you’re invited to submit directly, for the love of God, figure out who might be interested in your work and send it directly to them! Your chances of it being seen will be much higher if the person who makes the decision sees it first. I don’t think I’m alone in prioritizing emails specifically sent to me over ones that are forwarded.

So, what should you do?

Basically the opposite of everything I just said.

Address your email to the right person (and spell their name correctly).
Only send relevant content the organization has stated they have an interest in.
Provide a full and interesting description/query, not just a link or lazy “Are you interested in this?” with an attachment.
Provide all the relevant or requested details without being pushy or demanding.
Send queries to the right person.

Basically, put the time and effort in to figure out how to query an organization correctly and be polite about it.

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Here I go again…

So, about 7 years ago, I started looking for an agent or publisher. I had two finished manuscripts I was ready to send out. I also had a toddler and a kindergartener and a very supportive husband. What else did I have going for me that would entice and agent or publisher to pick me up?

Nada.

Had no clue about social media (wasn’t even on Facebook), no website, no publishing cred, no writing degree, nothing.

Guess how it went?

Nobody was interested. I had a tiny handful of agents or publishers requests a few chapters, then nothing. Admittedly, the publishing climate at that time wasn’t terribly open and no one wanted to take on a newbie. So, I decided to self-publish. I started figuring out the whole social media and marketing thing. I kept writing. I got picked up by several publishers along the way, having good and bad experiences, and now have 20+ books published either traditionally or indie, and even made the USA Today Bestsellers list as part of an awesome box set.

Now what?

I’ve got it into my head that I want to try the agent route again. I don’t know how it will go, but I’m going to do it anyway. That’s a big cliff to jump off of because it involves a lot of research, waiting, heartache, and more waiting.

To anyone else who is thinking about joining the agent hunt, I thought I’d share a few resources that can make it a little easier.

TIPS FOR THE AGENT HUNT

https://querytracker.net/ — Great for finding agents accepting submissions and what genres they want, and keeping track of your queries and responses.

Twitter and Facebook — great for seeing what the agents you’re interested in are doing and looking for “right now” and also for getting to know their personality and if it’s someone you’d be comfortable working with.

http://www.publishersmarketplace.com/ — Great for seeing what agents have been up to lately, when they’re last sale was and what publishing house the sale was with.

http://www.agentquery.com/ — database of literary agents, who’s taking what, and how to submit.

Comparable titles — know what your book is up against and be ready to tell and agent why yours will fit right in with other popular books readers are currently gobbling up.

QUERY HELP

If you need help writing a strong query letter, I recently did a podcast on the topic. Just click the Write. Publish. Repeat. logo below.

Writing a Query Letter: Part 4

To find the first part of this series, Click HERE. For Part 2, click HERE. Part 3, click HERE. To listen to the full discussion on the Write. Publish. Repeat. Podcast, click HERE.

Query Writing Tips

Now that you have the basics down, how do you actually write a GOOD query letter?

The blurb/summary is going to be a HUGE part of your pitch and often requires the most attention and revisions.

The next section will go over tips and tricks for writing a query letter that will grab an agent’s or publisher’s attention.

When to write the Blurb?

Before or After?
Depends on the author

Before
Why would you do this?
Not as emotionally invested yet.
Not EVERYTHING feels important.
Focus your thoughts on the story highlights.
Which can help with writing.
Saves you from having to do it later.
Allows you to promote early.

After
Have the full concept in place.

Avoid having to rewrite due to plot changes.

Better idea of future plans.

Anatomy of a Blurb

Situation/Character intro

Problem/Conflict

Hope of Resolution

Tone/Mood

Situation/Character Intro

Jump in right away.
Situation and Character intro right away.
No wasting time with description/thought.
Intro the setting as well.

Who is this story about?
What situation makes their story interesting?

First sentence should introduce both.

Make them interesting!
YOU know them well, so present them in the best, most interesting light

Example:

“In 1938, a small crooked-legged racehorse received more press coverage than Hitler, Mussolini, Roosevelt or any other news figure.”(Seabiscuit, Laura Hillenbrand)

Don’t mislead!
If they start reading and it doesn’t hold up…they’ll put it down

Problem or Conflict

A hint of the plot…
What challenge is your MC up against?
Simplify as much as possible.There may be multiple conflicts that all seem important.
Focus on the MAIN conflict.

How is this conflict going to hurt/hinder your character?
Again…simplify to the main points. Pick the biggest, most detrimental effect to focus on in the blurb

The blurb is a teaser. Hook the agent/pub…leave them wanting more. This is usually better accomplished in a short blurb.

Some like to end on a question (but not a rule)
“As mouths water in anticipation, can the solemnity of the Church compare with the pagan passion of a chocolate éclair?”(Chocolat, Joanne Harris)

“Lisbeth Salander—outcast…enigma…avenger…”(The Girl with the Dragon Tattoo, Stieg Larsson)

End on a cliffhanger!

Hope of Resolution

Don’t be too depressing!

How will your character potentially thwart all the trouble the conflict is brewing?

Don’t reveal the end of the story, but DO suggest a possible escape.

Make readers want to solve the problem.

Tone and Mood

The tone or mood of your query should match the book.

Fun, dark, moody, silly, inspirational, etc.

Let readers know what is in store for them so they know what they’re getting into.

Join me next week for the final part of the Query Writing Workshop. Tips & Tricks, tracking queries, and query pacing.

Listen to the full discussion now on my new podcast!

Write. Publish. Repeat. Podcast: How to Write a Query Letter Without Going Completely Crazy

Writing a Query Letter: Part 3

To find the first part of this series, Click HERE. For Part 2, click HERE. To listen to the full discussion on the Write. Publish. Repeat. Podcast, click HERE.

Paragraph Two of the Query Letter

Mini-Synopsis
Similar to the back cover summary
100-250 words

Expand on your hook
Explain more about your Main characters…
Problems/conflicts…
How adversity changes them…

Read back covers of other books for examples!

Paragraph Three: Bio

Brand new Author?
(You may want to skip this)

What to include?
Is it meaningful to the query?
Does it show personality?
Keep it short
Keep it writing related
Education
Work
Personal experience
Research

Publishing Credits/Awards

Awards
- If you’ve won them…INCLUDE THEM
  Don’t be modest, but don’t go overboard

Publishing credits (BE SPECIFIC)
Journals
Online/trade magazines

Unpublished?
You don’t need to say

Academic or Nonfiction?
Shows you know the process

DON’T INCLUDE:
Church news letter, credits unrelated to professional writing

Self-Published: Include or Not Include?

Timing
- It will be discussed eventually
Doesn’t hurt your chances
Be confident
Be ready discuss success/failure
Do you consider it a Mistake/Irrelevant
- Leave it out
Does it make you a more desirable client?
- Depends on success – mention sales numbers, length of time on sale
  - Success to some agents/pub = 5000 sales (per month…)

What NOT to Mention

Social media presence/platform
- UNLESS you have A LOT of followers
- Agents will Google you anyway
Marketing Plan
Years of effort and dedication
Family/friends opinions
Past rejections/near misses
Apologize
Compliment your work
Discuss $$ your book will make

Thank You/Closing

Thank the agent/pub
Time & consideration
Alert agent/pub full manuscript is available upon request
Mention if your book is being considered by another agency
Series potential/written
Include contact information basics
Only offer exclusives for a short time period
Only compare your book to another in terms of style, voice, theme (Not $$)

Join me next week for a discussion on writing a great blurb for your query.

Listen to the full discussion now on my new podcast!

Write. Publish. Repeat. Podcast: How to Write a Query Letter Without Going Completely Crazy

Writing a Query Letter: Part 2

To find the first part of this series, Click HERE. To listen to the full discussion on the Write. Publish. Repeat. Podcast, click HERE.

Parts of a Query Letter:

Paragraph One – The Hook
Personalization/Introduction
Book details
Hook

Paragraph Two
Mini-Synopsis
Think: back cover

Paragraph Three
Bio
Publishing credits/awards
Thank you/closing

Where do you start? Personalization

PARAGRAPH ONE – INTRODUCTION
Why are you querying this agent?
Did you meet them somewhere?
Invitation/Request?
Researched their agency/house?
Referred?

Personalize
Make sure the agent or publisher knows why you chose their agency
NEVER open with DEAR AGENT/PUB
Find a connection – Research
Be professional

Paragraph One: Book Details

What are you selling?
Keep it simple
Title
Word count
Genre
Age group

This should all be in one sentence

Paragraph One: The Hook

The 3 elements
Character + conflict
Choices/stakes
Sizzle
Possible 4th element: setting/time period

Hook vs. Heart

Hook: What makes your book unique and interesting?

Heart: Why you’re story will affect readers.

Hook should be ONE SENTENCE.

What is sizzle?
Why your story is different from a million others
DON’T TELL THE ENDING

Hook Examples

Bridges of Madison County
When Robert Kincaid drives through the heat and dust of an Iowa summer and turns into Francesca Johnson’s farm lane looking for directions, the world-class photographer and the Iowa farm wife are joined in an experience that will haunt them forever.
The Kite Runner
An epic tale of fathers and sons, of friendship and betrayal, that takes us from Afghanistan in the final days of the monarchy to the atrocities of the present.
Wicked Hunger
Will the Roth siblings insatiable hunger for pain and suffering turn them into villains, or can they somehow find a way to become the heroes of their own dark story?

Join me next week for a discussion on Paragraph Two of the query.

Listen to the full discussion now on my new podcast!

Write. Publish. Repeat. Podcast: How to Write a Query Letter Without Going Completely Crazy