narrative non-fiction

5 Elements of a Compelling First Page

Esteemed publishing agent Jennie Dunham and I are co-hosting two Publishing Salons this fall!

The Saturday, September 12th salon will be devoted to the “Premise & First Page,” and we've just announced a second event on the art of “The Query Letter,” which will take place on Sunday, November 8th.

Below you'll find Jennie's five keys to writing a compelling first page, which we'll be talking about in more depth at the September salon!

These events are designed to demystify the publishing industry with behind-the-scenes conversations with a successful New York City publishing agent, who will provide critiques on the work of selected participants. Even if you're not ready to submit your work, you are invited to listen in.

Scroll down to find full details and links to register, or contact me with questions!


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TWO PUBLISHING SALONS:


Premise and First Page

Saturday, September 12th

10 a.m. - 12:30 p.m. PST



~ and ~


The Query Letter

Sunday, November 8th

10 a.m. - 12:30 p.m. PST



with
Karin Gutman and Jennie Dunham


Hosted via Zoom

 

The Publishing Salon is designed to demystify the world of publishing. Through a series of intimate and dynamic conversations, Spirit of Story founder Karin Gutman and esteemed literary agent Jennie Dunhamoffer insights and practical steps for navigating your way to finding a home for your work.

For these fall events, Karin and Jennie will provide an overview of how traditional publishing works. We’ll discuss the key players, how a book gets sold, and the best way for an author to approach sharing their work in a professional landscape.

We’ll devote a full hour to providing feedback on either the Premise/First Page or the Query Letter of up to 10 premium participants whose work will be shown live on the screen as specific feedback about it is shared. If you are not ready to present your work, you can still take advantage of this unique opportunity to listen to the discussion. There will also be an open Q & A for all participants to ask questions related to the publishing process.

 
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Jennie Dunham has been a literary agent in New York City since May 1992. In August 2000 she founded Dunham Literary, Inc.
 
She represents literary fiction and non-fiction for adults and children. Her clients have had both critical and commercial success. Books she has represented have appeared on the New York Times Best Sellers in adult hardcover fiction, children’s books, and children’s book series.

Her clients have won numerous awards including: New York Times Best Illustrated Book, The Schneider Family Award, Boston Globe Horn Book Honor, and Los Angeles Times Book Prize Finalist.

She graduated from Princeton University with a degree in Anthropology and has a master's degree in Social Work from New York University. She frequently speaks at writers conferences and events.

 
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5 Elements of a Compelling First Page:

  1. Right on the first page, readers want to meet the protagonist and begin to form a bond with him or her. After all, the protagonist will be the reader’s guide through the story. The reader will identify with the protagonist, so this character should be mostly likeable and highly relatable.
     

  2. The reader should become immersed in the “world” contained in the book, whether realistic or fantastical, so that the real world the reader lives in melts away. This process begins on the first page.
     

  3. The writing should grab the reader and keep them interested. A strong writing style captivates a reader right from the first sentence.
     

  4. Drive! Questions should come up in the reader’s mind that make him or her guessing and turning pages to find out what happens next. 
     

  5. There should also be some sense of what type of story it will be and a hint that isn’t even noticeable about the ending. 


Have you done it? Come find out at our “First Page and Premise” workshop!

 
 
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A Conversation with Jennie Dunham

One thing I've noticed during this time of Covid is that people are leaning into their creativity. We are naturally having to be resourceful to cope with this peculiar situation and I feel like, at least for me, it is forcing me to face and move through some mental blocks I've had. I'm noticing that people are dusting off manuscripts that have been stuck in a drawer, that those who have extra time and solitude are recognizing the gift it also brings, and that overall a deeper commitment to self-expression is emerging.

Through all of this, I've been talking with a dear colleague, Jennie Dunham, who is a successful New York literary agent. Apparently, books are still being sold and readers are still buying books! So she and I have put our minds together to create a publishing salon series to demystify the world of publishing, as a way to make it more accessible.

While most of my time is devoted to story development, helping writers discover what wants to be birthed, I believe that stories are ultimately meant to be shared. And as we all know, there are so many ways to share them! Our intention is to create an intimate setting that offers a rare window into the lens of a professional literary agent and a space where writers can learn how publishing works.

We're kicking off our inaugural event, Prepare to Share Your Work, on Sunday, July 12th, 10 a.m. - 12 p.m. PST via Zoom.

Details are below, along with my recent interview with Jennie, in which she offers her personal take on the role an agent plays in a writer's career, what in a submission catches her eye, and how to think about the path of self-publishing versus traditional publishing.

If you're curious to learn more, I hope you'll consider joining us in July. Please don't hesitate to reach out if you have questions!


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Jennie Dunham has been a literary agent in New York City since May 1992. In August 2000 she founded Dunham Literary, Inc.
 
She represents literary fiction and non-fiction for adults and children. Her clients have had both critical and commercial success. Books she has represented have appeared on the New York Times Best Sellers in adult hardcover fiction, children’s books, and children’s book series.

Her clients have won numerous awards including: New York Times Best Illustrated Book, The Schneider Family Award, Boston Globe Horn Book Honor, and Los Angeles Times Book Prize Finalist.

She graduated from Princeton University with a degree in Anthropology and has a master's degree in Social Work from New York University. She frequently speaks at writers conferences and events.

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KARIN GUTMAN: At what point did you realize that you were meant to be a literary agent? What drew you to this work?
 

JENNIE DUNHAM: I have always loved books all my life. I love stories they contain and the beautiful objects they are as well. I wanted to be involved with books from an early age, but when I was young I didn’t know that anyone else was involved in making books other than authors. So that’s what I wanted to be. And then I learned about editors, and that’s what I wanted to be. And then when I graduated from college, someone gave me the book AUTHOR AND AGENT about Eudora Welty and her agent. And I thought, hmmm, I need to consider that too.

I like to say it was by accident because the first job I was offered after college was at a literary agency, and I took it. That’s where I realized that I love finding projects and advocating for authors. Coincidentally, I later worked at the agency that represented Eudora Welty for years before starting my own agency.
 
KARIN: What kinds of books do you like? What is your taste?
 
JENNIE: I like literary, character-driven writing with a strong narrative. As I’m reading a story, I want to be surprised, and I don’t want to feel I’ve been there already. It’s a challenge for writers to create fresh stories, but when I find one, it’s a thrill.
 
KARIN: I understand you get thousands of query submissions each year. What catches your eye?
 
JENNIE: I always look for an author’s strong credentials and platform. I look for a fresh premise, unusual characters, and a strong voice in a project. I’m very interested in #ownvoices, LGBTQA, and diversity in general. I was an anthropology major in college which means I was interested in other cultures and voices long before it was trendy. I always like to find out or learn something new.
 
KARIN: How often do you actually find a writer via a query submission? What are some of the other ways that you find writers?
 
JENNIE: This is unpredictable. I receive a lot of queries, and it’s great to know that writing is a vital, important part of people’s lives. A key way that I get new clients is by referral from current clients. I also attend conferences and workshops, so I meet new writers that way, especially when I give critiques.
 
KARIN: What is the number one thing you look for when you take on a new writer for representation?

JENNIE: Getting an agent doesn’t mean that a writer’s work is done; it means the work a writer does will change. An agent is a team member, so I’m looking for someone who has creative talent and has learned enough about the business of publishing to understand how to be an asset to the team we’re making. Agents deliver good news and bad, and someone who can accept the tough news and move forward is essential to a long term relationship. I also appreciate writers who meet deadlines.
 
KARIN: What do you think of this more recent emergence of self-publishing? Would you recommend writers pursue this path? Who should pursue traditional publishing?
 
JENNIE: Self-publishing has made it easier than ever to make books available to the reading public. The bar is high to get published traditionally, and many writers get frustrated so they stop trying and turn to self-publishing. Because it’s so easy to turn to self-publishing, the quality of self-published books varies widely. Once a book has been available to a wide number of people, most often publishers will feel the book has had an opportunity to reach readers already so they won’t be interested. Traditional publishing usually brings a book credibility, visibility, and distribution. Self-publishing, however, allows a writer full control over the look of the book.

KARIN: Right now, in the time of Covid, are deals still being made? I know a lot of writers who are using their time to get their books done. Is it a good time to be reaching out to publishing agents?
 
JENNIE: Books are still selling! Agents, editors, and authors are making deals, and readers are buying books. During the pandemic, there are fewer distractions and meetings, so it’s a good time for writers to work on their projects. But it’s also not a bad time to submit. While agents and editors are being cautious, everyone is looking towards the end of the pandemic whenever that may be. At all times, people need stories, but the types of stories that people are drawn to changes depending on what’s happening in the world.
 
KARIN: I’m excited to co-lead the Publishing Salon series with you! How might this be helpful to writers?
 

JENNIE: Writers know what they’re trying to say, so I find that sometimes they have trouble seeing holes in the plot or how a character isn’t developed enough. An agent or editor can provide feedback which will help writers improve their writing dramatically. It’s also useful to hear feedback given to other writers. Sometimes the lightbulb moment in understanding what isn’t working on the page comes from recognizing the same problem on someone else’s page.
 
All aspects of book publishing need big blocks of solitary work to write, read, and edit. Connecting with other people feels great after hours of concentrated work alone. It is always invigorating for me to go to conferences and workshops to meet people and discuss their writing. I’m excited about this event!

 
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Publishing Salon

Prepare to Share Your Work


Sunday, July 12th

10 a.m. - 12 p.m. PST


with

Karin Gutman and Jennie Dunham


Hosted via Zoom

 
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The path to publishing a book can be confusing and overwhelming. How can you catch the attention of a literary agent? How do you write a good query letter? Do you need to write a book proposal? And what is an author's platform and why does it matter?

The Publishing Salon is designed to demystify the world of publishing. Through a series of intimate and dynamic conversations, Spirit of Story founder Karin Gutman and esteemed literary agent Jennie Dunhamoffer insights and practical steps for navigating your way to finding a home for your work.

For this inaugural event, Prepare to Share Your Work, Karin and Jennie will provide an overview of how traditional publishing works. This path typically involves a submission process via a literary agent to land a book contract. We’ll discuss the key players, how a book gets sold, and the best way for an author to approach sharing their work in a professional landscape.

We’ll devote a full hour to providing feedback on the premise and first page of up to 10 premium participants, whose work will be shown live on the screen as specific feedback about it is shared. If you are not ready to present your work, you can still take advantage of this unique opportunity to listen to the discussion. We'll dedicate the last 30 minutes to an open Q & A for all participants to ask questions related to the publishing process.

We hope you’ll join us for the kick off of this series. This forum is a way to support you and your book projects by illuminating the path forward!

To learn more about Jennie Dunham and Dunham Literary, visit her site.

See all interviews

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A Conversation with Adam Skolnick

Have you ever wanted to write someone's life story, perhaps one other than your own? The interview this month with my dear friend Adam Skolnick offers some great insight into the creative process behind his first narrative non-fiction book.

An experienced journalist, Adam was covering an international freediving competition in the Bahamas when the unthinkable happened. Renowned freediver Nicholas Mevoli died tragically during the competition just 10 feet away; and after covering the story for the New York Times, Adam couldn't shake the experience. Now three years later his book One Breath (Crown Archetype, January 2016) has hit the shelves. Through the portrait of this young man, Adam explores the fascinating sport of freediving and the desire of these unique athletes to push human limits.


Adam Skolnick has written for the New York Times, Playboy, Outside, ESPN.com, BBC.com, Salon.com, Men's Health, Wired, and Travel + Leisure, among others. He has visited 45 countries and authored or coauthored over 25 Lonely Planet guidebooks. His coverage of Nicholas Mevoli's death at Vertical Blue earned two APSE awards. From that emerged his narrative non-fiction book, One Breath -- a gripping and powerful exploration of the strange and fascinating sport of freediving, and of the tragic, untimely death of America's greatest freediver.

Skolnick shows sharp reportorial instincts in this multilayered narrative...This is a page-turning book... but it’s also about the competitors drawn to the sport, the ones for whom ‘freediving is both an athletic quest to push the limits of the body and mind, and a spiritual experience.’ A worthy addition to the growing body of literature on adventures that test the limits of nature and mankind.
— Kirkus Reviews
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Karin: When you wrote the book proposal, what did you find to be the biggest challenge?

Adam: Well, I think I had this book right away; it was going to be an Into the Wild story. And then I turned it into my agent. My agent didn't want to pin it all onto Nick. He thought maybe a more generic freediving book would be better. Easy to sell or easier to execute. He didn't want to over-promise, under-deliver type thing. I didn't agree with him, but I just thought, I actually have no idea how this world works. He does; I have to trust him. So I followed his lead.

Meanwhile, I'm just finishing up this Lonely Planet L.A. manuscript. I'm in the desert locked away in hiding; Coachella is going off all around me. A friend of mine happened to be in the desert - said there's an extra wristband if you want to come. I go out and end up falling into this Asian drug crew and having really speedy ecstasy. After an hour and half night's sleep, wide awake, I get a message from my agent saying Crown wants to talk to you about your book, can you talk to them? And I'm like, can I talk to them tomorrow? I'm not really in the condition... And of course I thought I'd blown it, like that's it, this is your chance and you're a druggy loser.

So the next day I get on the phone with him and he's saying, “I really like this world but what's the through-line, what's the narrative?” And so I say, “¥ou know, I was always going to write it this other way to be honest. Whoever was going to buy this book, I was always going to talk to them before I started writing; that this is the way it should be done.” He said, “I need three pages to give to people, we're still far from any deal.” So basically I had a day or two to come up with the three-page hook that pitched the narrative.

I know it was a process to get Nick's family to “buy in” so to speak. How did you get them to get behind you and this book - the telling of their son's story? 

My approach was, no matter what they say, I am going to get them to be a part of this. I didn't put too much pressure on that first meeting. I'm pretty organic. I think I blocked out four days to be in Tallahassee, maybe three days. And so that day, on my way there, I just realized I would tell his mom the story of how I came to be the witness to her son's death.

She opened the door, and right away she spun out, like, “Okay, what are you doing here, Adam? What do you want, why are you here, what's going on?” Like right away, I haven't even walked into the house. I said, “Okay, well, can we sit down and can I just tell you how I ended up being there that day?” And I told her the whole story and my own heartbreak. And before I was even done, she was talking. People want to talk.

When tragedy happens in your life - we're all grown ups, we've all had our share of bullshit - my experience of it is, at first everybody's there for you and wants to hear, and then pretty quickly three months later, they'll listen to you but pretty quickly their eyes will glaze over. It's not that they don't give a shit, it's that they don't have the capacity to give a shit anymore. And I was the type of person that, whenever you want to talk about this horrible thing that happened, I'm happy to talk about it. So in reality I filled a number of roles over the course of this thing for the family. I was kind of a surrogate nephew, I was a brother. I wouldn't go so far to say I was a surrogate son, but whenever anyone wanted to talk to me they knew they could. That, I think, has value for the family.

You know what I'm good at is 'access', that's really probably the thing I'm best at. It's never been a problem for me. I don't have any sort of plan or how I go about it. It's really pretty organic. I think anybody can be good at it. If you're interested and you're genuine, people want to talk about their stories. 

You said you had 10 weeks to write the first draft. Did you have a structure or writing ritual that you followed to meet that deadline?

My ritual is just, you gotta write 3,000 words a day if you're trying to meet a deadline like that. If you think about it, my goal was a 100,000-word manuscript, because that's about a 300-page book. So if you think about 3,000 words a day, that's a little over a month and you're done with a draft.

That might sound like a lot, but just think about that for a second. If you write 1,500 words a day, which all of you can do, that's two months.

And the reason I got to the 3,000 word number is from Lonely Planet manuscripts having very tight deadlines and having to produce them really quickly. At the time of my first one, I was still writing magazine stories every once in a while and didn't have to have that same attention span expansion. And a colleague told me, “You can do this, just do 3,000 words a day.” After a while, you do build up to that. It's a vibration, it just tunes up. At first it might be hard, you just keep doing it.

How you get there is an extremely detailed outline. I did a full outline with the editor, kind of mapped it out. I had each chapter outlined. Then when I got to that chapter I outlined it even further. I would break it down, what I wanted to say in that chapter. I'd funnel in all the information that was in my massive notes. I'd pop it in my outline.

The point I'm trying to say is, 3,000 words is only a lot if you don't know what you're going to say. That's when it becomes really hard. If you find yourself staring at the computer not knowing what to write, it means you don't know what you want to say. It doesn't mean you're blocked.

So if you can take that big mass white page and put it down to small little bricks, and just fill those spaces, it's much easier. Much easier. And then everything becomes demystified. 3,000 words a day, or make it a 1,000 words, or if you have a day job, 500 words. Even 500 words a day, in six months you're gonna have a book. That's not that much time.

What was the editing process like?

So then I wrote the whole thing. 430 pages is the first draft.  And I've got a week until I gotta turn it in. I was so happy to have finished the first draft and then I start reading it the next morning, and I think oh f**ck this is horrible. It's a failure.

But luckily I had a good friend come help me edit it. I had a week to go. So I start going through my first 50 pages and make my changes - and hand over those newly edited 50 to him. And he goes through those 50 and makes his notes. When he's done we get together and go over his edits. So pretty soon, almost immediately day one, we have three versions of this manuscript happening. We have the original raw one. We have the one I fixed. And we have the one he's fixing.

And that process gave us a great global view of things, because one of the biggest issues when you're doing what I was doing is, where am I repeating myself? - especially with physiology of freediving and the history of some of these athletes and all that. That's the best way to clean out stuff. But then also overall it just kind of distilled it.

By the time that first pass was done, in just a couple of days before moving on to the second pass, we found it. It was just right there.

I would never have predicted that, it was totally organic. And now I don't think I'll ever do another book any other way.

Where do you write?

For me at this point I travel so much, I can do it anywhere. I generally work better in the daytime. But if I want to swim, I still need to be in the water, so at one point I would be in the backseat of my friend's car on the way to the beach. I had rented a room from a friend in Hollywood for all this time. It's an hour each way to the beach, so I'd be in the backseat writing with the headphones, and on the way back with the headphones. At this point I'm an experienced reporter so I'm on the road a lot. It doesn't matter.

I think the sooner you can get out of the “precious environment” type of stuff that is totally natural to someone who is just getting into it as a real habit or a real lifestyle.... The sooner you can get out of that sanctimonious stuff, sanctifying the writing process, I think the more natural it becomes. That's my own personal take. It's not super sacred, it's just a practice.

 

To learn more about Adam Skolnick, visit adamskolnick.com

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